“Incident” examines extraordinary mind.
Mark Haddon was skeptical. Actually, the author of “The Curious Incident of the Dog in the Night-Time” was more than skeptical about seeing his best-selling novel on stage.
“He was convinced it absolutely could not be adapted,” says Tim Levy, a producer of the original National Theatre production in London. “He thought that thing you do in a novel where you go into someone’s head could not be replicated.”
But Haddon gave the National Theatre team a chance — after some assurances. Adapter Simon Stephens promised the doubtful author “If it’s not good, or it doesn’t work out, we’ll forget it and no one will ever hear about it,” Levy recalls.
As it turned out, Haddon had no need to fear. At the 2013 Olivier awards — London’s most prestigious theater prizes — “Curious Incident” won best play, director, sound, lighting and set design. After opening on Broadway, the show was again honored for director, lighting and set design, as well as picking up the Tony Award for best play. The touring version opens Tuesday at Orlando’s Dr. Phillips Center.
Levy says the show’s appeal lies in its dual nature: “You’re watching Christopher’s story, but you’re also
feeling it inside his brain.” The story’s protagonist, Christopher is a teenager with family problems who sets out to discover who killed his neighbor’s dog. But he’s no ordinary teen. A mathematical genius, he appears to have a type of autism-spectrum disorder, though that is never specifically stated in the book.
As a result, it’s equally unclear in the play.
“We fell in love with this great novel in which the author chose not to define his condition,” Levy says. “That said, a vast number of audience members can relate to Christopher as someone on the autistic spectrum. Because of that, we do all we can to embrace that community.”
Intriguingly, the show uses all the tools of stagecraft to signify how the world might seem to someone in Christopher’s shoes. When he travels to London on his own, bright lights illuminate the stage and loud music fills the air in sensory overload.
Although not a musical, Adrian Sutton’s compositions fuel the story.
“The music is its own character,” Levy says. And here’s an insider tip: To pay homage to Christopher’s mathematical prowess, the entire score is based on the pattern of prime numbers.
“That’s the kind of detail and research Adrian did,” Levy says. “You’re not aware when you’re watching the play, but that’s the level of care we all took with telling this wonderful story.”