Troubadour Wembley Park Theatre
Fulton Road, Wembley Park, London HA9 0SP
Opens 20 November 2021
Closes: 9 January 2022
Nearest Tube: Wembley Park
Sat 20 Nov at 7.30pm
Sun 21 Nov no performances
Mon 22 Nov no performances
Tue 23 Nov at 7.00pm
Wed 24 Nov at 7.00pm
Thu 25 Nov at 2.00pm and 7.00pm
Fri 26 Nov at 7.30pm
Sat 27 Nov at 2.30pm and 7.30pm
Sun 28 Nov at 2.30pm
Mon 29 Nov no performances
Tue 30 Nov at 2.00pm
Wed 1 Dec at 7.00pm
Thu 2 Dec at 2.00pm and 7.00pm
Fri 3 Dec at 7.30pm
Sat 4 Dec at 2.30pm and 7.30pm
Sun 5 Dec at 2.30pm
Mon 6 Dec no performances
Tue 7 Dec at 2.00pm
Wed 8 Dec at 7.00pm
Thu 9 Dec at 2.00pm and 7.00pm
Fri 10 Dec at 7.30pm
Sat 11 Dec at 2.30pm and 7.30pm
Sun 12 Dec at 2.30pm
Mon 13 Dec no performances
Tue 14 Dec at 2.00pm
Wed 15 Dec at 7.00pm
Thu 16 Dec at 2.00pm and 7.00pm
Fri 17 Dec at 7.30pm
Sat 18 Dec at 2.30pm and 7.30pm
Sun 19 Dec at 2.30pm
Mon 20 Dec no performances
Tue 21 Dec at 2.00pm and 7.00pm
Wed 22 Dec at 7.00pm
Thu 23 Dec at 2.00pm and 7.00pm
Fri 24 Dec at 2.00pm
Sat 25 Dec no performances
Sun 26 Dec no performances
Mon 27 Dec at 7.00pm
Tue 28 Dec at 2.00pm and 7.00pm
Wed 29 Dec at 7.00pm
Thu 30 Dec at 2.00pm and 7.00pm
Fri 31 Dec at 2.00pm
Sat 1 Jan at 7.00pm
Sun 2 Jan at 2.30pm
Mon 3 Jan no performances
Tue 4 Jan at 2.00pm and 7.00pm
Wed 5 Jan at 7.00pm
Thu 6 Jan at 2.00pm and 7.00pm
Fri 7 Jan at 7.30pm
Sat 8 Jan at 2.30pm and 7.30pm
Sun 9 Jan at 2.30pm
Runs 2 hours and 30 minutes
£? to £?
(plus booking fees if applicable)
Mark Haddon's The Curious Incident of the Dog in the Night-Time in London, adapted for the stage by Simon Stephens
Christopher, fifteen years old, stands beside Mrs Shears' dead dog. It has been speared with a garden fork, it is seven minutes after midnight and Christopher is under suspicion. He records each fact in a book he is writing to solve the mystery of who murdered Wellington. He has an extraordinary brain, exceptional at maths while ill-equipped to interpret everyday life. He has never ventured alone beyond the end of his road, he detests being touched and he distrusts strangers. But his detective work, forbidden by his father, takes him on a frightening journey that upturns his world.
Back in London for a strictly limited season as part of a major UK tour. WINNER of seven 2013 Olivier Awards including for Best New Play for Simon Stephens, Best Director for Marianne Elliott, Best Set Design for Bunny Christie and Finn Ross, Best Lighting Design for Paule Constable, and Best Sound Design for Ian Dickinson and Adrian Sutton.
Please Note: This production is suitable for ages 13 years plus.
The cast at London's Wembley Park Theatre features David Breeds or Connor Curren as 'Christopher Boone', Ashley Gerlach as 'Roger Shears', David Monteith as 'Reverend Peters', Hannah Sinclair Robinson as 'Mrs Shears', Joanne Henry as 'Mrs Alexander', Kate Kordel as 'Judy Boone', Kofi De-Graft-Jordan as 'Mr Thompson, Rebecca Root as 'Siobhan', Siu-See Hung as 'No.40', Sophie Stone as 'Judy Boone', and Tom Peters as 'Ed Boone'. Casting subject to change without notice.
Directed by Marianne Elliott, with movement by Scott Graham and Steven Hoggett (for Frantic Assembly), designs by Bunny Christie, video by Finn Ross, lighting by Paule Constable, music by Adrian Sutton, and sound by Ian Dickinson.
This production originally previewed from 24 July 2012, opened on 2 August 2012, and closed on 27 October 2012 (in repertory) at the National Theatre's Cottesloe Theatre (now called Dorfman Theatre); previewed from 1 March 2013, opened on 12 March 2013, and closed on 19 December 2013 at the Apollo Theatre; previewed from 24 June 2014, opened on 8 July 2014, and closed on 3 June 2017 at the Gielgud Theatre; previewed from 29 November 2018, opened on 11 December 2018, and closed on 27 April 2019 at the Piccadilly Theatre.
NOTE: This production was original scheduled to play at the Troubadour Wembley Park Theatre in 2020 - from 1 December 2020 to 10 January 2021 - but this was postponed for one year due to the COVID-19 situation.
When this production transferred to the Gielgud Theatre in July 2014, Dominic Maxwell in the Times said that "the National Theatre's adaptation of Mark Haddon's novel is total theatre and a total pleasure to see back on the West End stage... Marianne Elliott's masterpiece of multimedia staging has returned in a bigger theatre. I mourned some loss of intimacy early on, but after that I was exhilarated afresh by storytelling that is tender, dynamic, amusing and awe-inspiring - often all at once... It's an accessible, adorable union of the mainstream and the experimental." Jane Shilling in the Daily Telegraph commented that "Bunny Christie's brilliant design - a monochrome mathematical grid onto which are projected diagrams, rail tracks, emoticons and cascades of numbers - is inspired. But the set seems the most powerful presence on the stage."
Simon Stephens' West End theatre credits include the monologue Sea Wall at the Old Vic Theatre in 2018; the play Heisenberg: The Uncertainty Principle at the Wyndham's Theatre in 2017; and translating Henrik Ibsen's play A Doll's House at the Duke of York's Theatre in 2013.
Marianne Elliott's London theatre directing credits include, co-directing with Miranda Cromwell, Arthur Miller's Death of a Salesman at the Piccadilly Theatre in 2019; Stephen Sondheim's Company at the Gielgud Theatre in 2018; Simon Stephens' play Heisenberg: The Uncertainty Principle at the Wyndham's Theatre in 2017; Tennessee Williams's Sweet Bird of Youth at the Old Vic Theatre in 2013; William Shakespeare's Much Ado About Nothing for the Royal Shakespeare Company at the Novello Theatre in 2006; George Bernard Shaw's Saint Joan for the National Theatre at the Olivier Theatre in 2007; and co-directing with Tom Morris, Nick Stafford's stage adaptation of Michael Morpurgo's War Horse for the National Theatre at the Olivier Theatre in 2007 and transfer to the New London Theatre in 2009.
When this production transferred to the Apollo Theatre in London's West End in March 2013, Charles Spencer in the Daily Telegraph noted how "Marianne Elliott's beautiful, ingenious and deeply felt production has now transferred triumphantly to the West End. The show manages to be theatrical while remaining entirely true to the spirit of the book." In the Times Dominic Maxwell described how "the staging gets faster, funnier and riskier to match, culminating in a second act that is a phenomenal combination of storytelling and spectacle, a theatrical rush equal to anything on the London stage... there's no mystery at all to why this rich and dazzling play has moved to the West End." Ian Shuttleworth in the Financial Times commented that "moving it into the proscenium-arch space of the Apollo has entailed a rethink: what had been the central playing area now becomes a cube onstage, with back and side walls as well as floor covered with a graph-paper design. This works in the show's favour, reducing the impression of faux-intimacy and introducing a physical distance from Christopher to match the emotional one." Over in the Independent Paul Taylor highlighted that "Simon Stephens's imaginative adaptation and Marianne Elliott's brilliant production find solutions that actually manage to throw fresh and arresting light on the material while keeping a perfect equipoise between the comedy and the heartache." Lyn Gardner in the Guardian explained that the stage play ia "a hugely entertaining meditation on the nature of truth and how we present ourselves to each other" and Julie Carpenter in the Daily Express said that it was a "fitting homage to Haddon's much-loved novel." In the London Evening Standard Henry Hitchings wrote: "This appealing and ingenious adaptation of Mark Haddon's cult novel... Marianne Elliott's production, which then felt dazzlingly inventive, has been rejigged to fit a larger West End space with different sightlines. No longer staged in the round, it makes a freshly powerful impression... a beautiful, eloquent show about the wonders of a life that initially seems hopelessly constrained." Quentin Letts in the Daily Mail held that, "for all the tricks and ingenious representations of lines and sums and basic face drawings - with which people on the autistic spectrum try to learn about emotions - the story is a very human one. It is about valiant, bemused, adorable Christopher and the sadness of his estranged parents as they struggle to keep him calm." In the London Metro Siobhan Murphy thought that "Finn Ross's inspired video projections and Paule Constable's light show offer a shock and awe approach to delving into Christopher's singular wonders and fears... But this is, nonetheless, a bittersweet story told with verve and passion."
When this production was originally seen at the National Theatre's Cottesloe Theatre in London in August 2012, Michael Coveney in the Independent highlighted that "this is a profoundly moving play about adolescence, fractured families, mathematics, colours and lights." Michael Billington in the Guardian noted that the whole thing is "done with enormous flair... this is a highly skilful adaptation" and in the Times Libby Purves said that "putting a well-loved book on stage is risky, but here a remarkable play has been made from Mark Haddon's Whitbread Award-winner, rendering its wit and insight and even offering fresh insights... there is a simple, stunning design by Bunny Christie and unbelievable lighting by Paule Constable... brilliant, deep and funny." Alexander Gilmour in the Financial Times commented that "Marianne Elliott's direction is dynamic and stylish, if faintly congested. The show is mime-heavy, for instance: often it works but often it feels superfluous." Patrick Marmion in the Daily Mail thought that "the National is priming theatre-goers with an adaptation of the book that taps into the public's hunger for insights into the inscrutable minds of autistic people. The show teaches in a way that's intelligent, sensitive, touching and strikingly inventive." In the Daily Telegraph Laura Thompson wrote that: "This adaptation by the acclaimed playwright Simon Stephens is intensely, innately theatrical; it is also funny and extremely moving... the entire production is marked by a breathless fluidity that is emotional rather than cerebral." Michael Billington in the Guardian described how this production "was greeted with a great roar of approval. And, even though I found myself resisting occasional touches of self-conscious cuteness and sentimentality in Marianne Elliott's production, I readily acknowledge the whole thing is done with enormous flair... this is a highly skilful adaptation." Simon Edge in the Daily Express explained that "once actors depict Christopher's harassed parents or his neighbours Mr and Mrs Shears, we see the characters through our eyes not his," adding that "what the production loses by diluting Christopher's voice it makes up for when it shows the very real dilemmas for parents whose love for their disabled son is balanced by a terror of not coping." Henry Hitchings in the London Evening Standard noted how, "true to the original novel, [Simon Stephens'] version drips with ideas, especially about the nature of objects and the importance in our world of mathematical sequences... director Marianne Elliott confidently evokes the alien landscape of Christopher's mind."
"If you struggle to grasp prime numbers, let alone count more than five of them, Marianne Elliott's production of Mark Haddon's best-seller - about an Asperger's maths genius - will reveal the beauty of seeing the world through the prism of maths. Writer Simon Stephens neatly solves the problem of a novel dominated by 15-year-old Christopher Boone's single, distinct voice by adapting it into a story about putting on the teenager's book as a play, creating an ensemble piece that makes good use of Siobhan, Christopher's teacher. Bunny Christie's exhilarating set, a mix of squares, white boxes, dotted lines and projected algebra equations, conveys Christopher's perception of the universe as a source of infinite, numeric possibility... The play has theatrically brilliant moments, yet this very theatricality can feel at odds with Christopher's pathologically literal world view. For him, of course, all theatre is simply a 'lie'." The Metro
"A play about maths and Asperger's doesn't sound like anyone's idea of a hit but this adaptation of Mark Haddon's bestseller applies genius to its study of a troubled teen. It charts 15-year-old Christopher's mission to discover who killed his neighbour's dog - revealing family tensions along the way. The script brims with heart and humour, the supporting cast are uniformly excellent." The Sunday Mirror
"Simon Stephens's stage adaptation of Mark Haddon's brilliant novel The Curious Incident Of The Dog In The Night-Time... has 15-year-old Christopher telling how he solves the mystery of the murdered dog from his own skewed perspective. Stephens cracks this potential narrative problem by making the story a play to be performed at the boy's special school... The triumph of Marianne Elliott's fabulously imaginative stagecraft... Random numbers and fiendish formulae are projected in a dizzying whirl on the walls of Bunny Christie's graph-paper set, reflecting the thought processes in Christopher's brain... But just as he has special needs, so he has special gifts. In other words, he's just like us, but in every way more extreme. Unmissably good theatre." The Mail on Sunday
The cast at the Cottesloe Theatre from Tuesday 24 July 2012 to Saturday 27 October 2012 featured Luke Treadaway as 'Christopher Boone' with Niamh Cusack as 'Siobhan', Paul Ritter as 'Ed Boone', Nicola Walker as 'Judy Boone', Una Stubbs as 'Mrs Alexander', Nick Sidi as 'Mr Shears', Sophie Duval as 'Mrs Shears', Matthew Barker as 'Policeman', Howard Ward as 'Reverand Peters', and Rhiannon Harper-Rafferty as 'No. 40'. At the 2013 Olivier Awards Luke Treadaway won the award for 'Best Actor', and Nicola Walker won the award for 'Best Actress in a Supporting Role'.
The cast at the Apollo Theatre from Friday 1 March 2013 to Saturday 31 August 2013 featured Luke Treadaway as 'Christopher Boone' with Niamh Cusack as 'Siobhan', Sean Gleeson as 'Ed Boone', Holly Aird as 'Judy Boone', Tilly Tremayne as 'Mrs Alexander', Nick Sidi as 'Mr Shears', Sophie Duval as 'Mrs Shears', Matthew Barker as 'Policeman', Howard Ward as 'Reverend Peters', Rhiannon Harper-Rafferty as 'No. 40', and Johnny Gibbon as 'Christopher Boone' at some performances.
The cast at the Apollo Theatre from Monday 2 September 2013 to Thursday 19 December 2013 featured Mike Noble as 'Christopher Boone' with Rakie Ayola as 'Siobhan', Trevor Fox as 'Ed Boone', Amanda Drew as 'Judy Boone', Gay Soper as 'Mrs Alexander', Golda Rosheuvel as 'Mrs Shears', Daniel Casey as 'Mr Shears', Paul Stocker as 'Policeman', Patrick Driver as 'Reverend Peters', Jo Dockery as 'No. 40', and Jack Loxton as 'Christopher Boone' at some performances.
The cast at the Gielgud Theatre from Tuesday 24 June 2014 to Saturday 20 June 2015 featured Graham Butler as 'Christopher Boone' with Sarah Woodward as 'Siobhan, Nicolas Tennant as 'Ed Boone', Emily Joyce as 'Judy Boone', Gay Soper as 'Mrs Alexander', Victoria Willing as 'Mrs Shears', Daniel Casey as 'Mr Shears', Paul Stocker as 'Policeman', Tony Turner as 'Reverend Peters', Vivienne Acheampong as 'No. 40', and Abram Rooney as 'Christopher Boone' at some performances.
The cast at the Gielgud Theatre from Monday 22 June 2015 to Saturday 18 June 2016 featured Sion Daniel Young as 'Christopher Boone' with Rebecca Lacey as 'Siobhan', Nicholas Tennant 'Ed Boone', Mary Stockley as 'Judy Boone', Jacqueline Clarke as 'Mrs Alexander', Indra Ove as 'Mrs Shears', Stephen Beckett as 'Mr Shears', Matthew Trevannion as 'Policeman', Sean Mckenzie as 'Reverend Peters', Pearl Mackie as 'No. 40', and Kaffe Keating as 'Christopher Boone' at some performances.
The cast at the Gielgud Theatre from Monday 20 June 2016 to Saturday 3 June 2017 featured Joseph Ayre as 'Christopher Boone' with Jo Castleton as 'Siohban', Nicholas Tennant as 'Ed Boone', Sarah Stanley as 'Judy Boone', Jacqueline Clarke as 'Mrs Alexander', Amanda Posener as 'Mrs Shears', Ross Waiton as 'Mr Shears', Matthew Trevannion as 'Policeman', David Nellist as 'Reverend Peters', Gemma Knight Jones as 'No. 40', and Thomas Dennis as 'Christopher Boone' at some performances.
The cast at the Piccadilly Theatre from Thursday 29 November 2018 tp Saturday 27 April 2019 featured Joshua Jenkins as 'Christopher Boone' with Julie Hale as 'Siobhan', Stuart Laing as 'Ed Boone', Emma Beattie as 'Judy Boone', Lynette Clark as 'Mrs Alexander', Eliza Collings as 'Mrs Shears', Lucas Hare as 'Mr Shears', Craig Stein as 'Policeman', Sean McKenzie as 'Reverend Peters', Gemma Knight Jones as 'No. 40', and Sam Newton as 'Christopher Boone' at some performances.
This production was originally presented at the 'studio-style' Cottesloe Theatre (now called Dorfman Theatre) at the National Theatre when it was staged 'in-the-round'. When the production transferred to the West End's Apollo Theatre it was re-staged for a traditional proscenium-style theatre.
At the Apollo Theatre, during the performance on the evening of Thursday 19 December 2013, part of the auditorium ceiling collapsed and fell onto the audience, also damaging part of the balcony. Around 90 people were injured, fortunately there were no fatalities and none of the injuries where life threatening. "This is a shocking and upsetting incident," a spokesperson for the Apollo Theatre said. "Our thoughts are with the audience and staff who were in the theatre and their families. We're very grateful to the emergency services for their tremendous work and to our staff who helped with the evacuation." This forced the production to close, with the last full performance at the Apollo Theatre being the afternoon matinee show on Thursday 19 December 2013. This production returned to the West End six months later at the nearby Gielgud Theatre. Following building work, the next production at the Apollo Theatre was the National Theatre of Scotland's production of John Ajvide Lindqvist's Let the Right One In which began public previews from late March 2014.
The Curious Incident of the Dog in the Night-Time in London at the Wembley Park Theatre opens on 20 November 2021, and closes 9 January 2022