26 September – 5 October 2024
Adapted by Simon Stephens, based on the novel by Mark Haddon
Christopher, 15 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 the book he is writing to solve the mystery of who murdered Wellington. He has an extraordinary brain and is exceptional at maths, but he is 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 Christopher’s detective work, forbidden by his father, takes him on a frightening journey that turns his world upside-down.
Simon Stephens’ adaption of Mark Haddon’s bestselling, award-winning novel, offers a richly theatrical exploration of this touching and bleakly humorous tale.
The professional production premiered at the Royal National Theatre in 2012 and subsequently transferred to the West End and Broadway.
Cast
Christopher Boone | Ollie Nebel
Siobhan | Heather Bokota
Ed | Peter Davis
Judy | Natalie Jones
Roger Shears / Ensemble | Richard Haslam
Mrs Alexander / Ensemble | Anne Gregory
Mrs Shears / Ensemble | Becky Harris
Rev Peters / Ensemble | Angelique Patnett
Punk Girl / Ensemble | India Wright
Mr Thompson / Ensemble | Ben Hilder
Directed by Robin Clark & Keith Orton
Photography by Chris Fenton
Review | October 2024 | Theo Spring
To quote Monty Python “And now for something completely different” – and what a different production this was. A deserved sellout, the staging, the effects and the attention to detail, were all creatively amazing, and that is before I even mention the cast and their dedicated contribution to this unusual, slick, impactful show.
The play, adapted by Simon Stephens from the book by Mark Haddon, illuminates the mindset of a 15-year-old teenage boy who is on the autism spectrum. It reveals much of the way those who have what is now bandied about as ASD (Autism Spectrum Disorder) or even ADHD (Attention Deficit Hyperactivity Disorder) think and need to act or react to life’s situations.
Collaborating, and using their individual skills to the full, Directors Robin Clark and Keith Orton brought this difficult show to life.
The set was stark – a raked platform covering the whole stage, sectioned off with a grid, and utilising, in many different ways, moveable boxes to create the varied scenes which were further visually set using clear white drawings on a black background, projected in large detail on the back wall – Keith Orton’s drawings with Robin Clark’s videography.
Leaving us in no doubt as to the character’s autistic tendencies, Ollie Nebel became the young man, Christopher Boone who discovered his neighbour’s dog, Wellington, dead, was very upset and decided to find his killer. Right from the start, Ollie convinced with his movements, delivery of his huge number of lines and his obvious understanding of the role and with the story revolving around him, brought a superb and incredible talent to the show.
Not alone in this contribution, he was supported by a very gifted cast. His father, Ed, another complex character, gave Peter Davis an opportunity to widen his acting career. Having been fortunate to see him in many of his comedy roles, I must commend his serious and empathetic impact as Christopher’s Dad. Mother Judy had run off with her neighbour Roger Shears, whose dog it is who has been killed. Natalie Jones’ believable love and understanding for Judy’s son shone through, albeit that she had upped and left him, but the reasons beneath this move were well portrayed. Richard Haslam’s Roger clearly brought an intolerance and lack of understanding of Christopher’s condition which showed strongly when Christopher managed to finally find out that his mother wasn’t dead, as his father had told him, but was living in a small flat in London. Christopher’s train journey from Swindon to London was brought vividly to life with articulated choreography by Becky Harris – one could almost feel Christopher’s angst amongst the strangeness of a completely new venture, his disorientation underlined by the bustle of the railway station.
At his special school, Christopher’s teacher, Siobhan is very supportive and helpful and here the character acts as both adviser and narrator of the book in which Christopher writes his findings as he tries to find the dog’s murderer. Heather Bokota combined Siobhan’s understanding and knowledge, making her a realistic confidant and also moving the story along for the audience.
Characters who live in Christopher’s street or who come into contact with him include the abandoned Mrs Shears to whom Becky Harris brings all the anger and fury of a deserted wife, and the understanding Mrs Alexander with Anne Gregory delivering a more sympathetic neighbour, offering a drink and biscuits to her interlocutor as he questions her about Wellington’s death.
Ben Hilder as the policeman, also happily offers understanding to Christopher who is charged with assaulting a policeman – purely due to the fact that his autism will not let anyone touch him, and the policeman did! Under questioning from Christopher, Angelique Patnett as the Rev. Peters showed an initial wish to help but found herself unable to comprehend either the autism or the questioning.
Alongside their named roles, the cast all become members of an ensemble who create, interact and deliver events throughout the show, adding additional scene setting and storytelling. Mrs Gascoyne, the principal at Christopher’s school is brightly and amusingly played and India Wright delivers important and sometimes amusing information.
To Peter Brown goes the accolade of that unusual and effective set, with squares that even changed to green when the scene was set on Hampstead Heath and to Peter Beckwith who composed music specially for the production which enhanced the mood. Special mention must also be made of the help given to both the directors and the cast by Autism Adviser Oscar Hilder; to Jonathan Mash who worked hard to create the important and right lighting; to Tiffer Cundy, responsible for the rather gruesome Wellington, set centre stage at the beginning, with a large garden fork upright in his side, and to Gail Bishop, Stage Manager, who was, I suspect, responsible for making sure that Christopher’s train set – laid out front of stage, had an engine which actually worked and trundled merrily across the stage and into its engine shed. There was, too, the inevitable ‘ahh’ reaction when a small dog, acting as Sandy, made an appearance.
To say that this show was a move beyond for the Miller Theatre is a bit of an understatement and the bar for the theatrical ability for what can be achieved has most certainly been raised. To have found directors with the vision to bring it to the stage, to have found Ollie Nebel who excelled in the role of Christopher and to have had the dedication of a cast determined to offer the very best of their ability, all added up to delivering a memorable and a truly brilliant show.