REVIEW: THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME @ NEW WIMBLEDON THEATRE

🎭 The Curious Incident of the Dog in the Night-Time

📍 New Wimbledon Theatre, 93 The Broadway, Wimbledon, London, SW19 1QG

🗓 Tuesday 10th November 2026

⭐️ 2 Stars

A CURIOUS CASE OF MISSED OPPORTUNITIES

Last night was dark and rainy, reminding us all that we are well and truly in the Autumn season. I headed out (forgetting my umbrella!) and made my way over to Wimbledon to catch the current UK touring production of THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME.

I was really looking forward to this. Until recently, I knew absolutely nothing about the story, but earlier this year I reviewed a community theatre production of the show and absolutely fell in love with it. I awarded that production 5 stars, so it's safe to say that I was overjoyed to receive the invitation to review this professional staging, and that my expectations were sky high.

For those who are unaware of the story, Simon Stephens' adaptation of Mark Haddon's bestselling novel follows 15-year-old Chris Boone, a neurodivergent teenager with an extraordinary brain for maths who struggles with everyday social interactions and physical contact. When Chris discovers a neighbour's dog murdered with a garden fork, she sets out to investigate the mystery, uncovering painful family secrets that force her out of her comfort zone and onto a daunting journey to London.

Before the curtain even rose, the character of Siobhan stepped out to address the audience. Because there had been an announcement of a delayed start, I was worried it was actually a member of the production team coming out to tell us the show had been cancelled. Happily, that was not the case, and the evening began.

Unfortunately, this is where the issues started! Because of the neurodivergent aspect of the show, we were informed that we were watching a relaxed performance. We were told the house lights wouldn't go down the whole way, and were given an example of a tense rumble. And that was it! At previous relaxed performances I've been to, we're introduced to the actors, told about their characters, and given details about a safe space that's available if we need it. None of this happened, and then when the show started proper, the house lights went down completely! What was the point of saying it was a relaxed performance when it wasn't? I even asked theatre staff at the interval, who confirmed this was not the case. They were unaware it was even going to be said! I believe because this is essentially a play within a play, that it was a confusing artistic choice.

Sadly, the baffling choices didn't stop there. I was really disappointed with the minimalist set and the busy visual gimmicks. We really didn't need the cheap-looking animations projected at the back of the stage, which distracted from the storytelling rather than enhancing it. At one point, they tried to show Chris getting overstimulated upon arriving in London by dropping loads of yellow balls onto the stage. This was a very quick effect that frankly had little payoff, and then we just had to sit and watch the ensemble awkwardly pick up all the balls! Bizarre.

It's no secret how much I love a good lighting design, but here we were basically given an array of colour washes, and there were times when the person speaking had their face left in darkness. The follow-spot was also often chasing characters around the stage. For a play about neurodivergence, little things like this can really get under the skin of your audience. Because of how my brain works personally, this sort of thing really annoys me.

If I'm being completely honest, the whole thing felt very cheap and amateurish, almost as if this was a school production rather than a major national tour. The staging lacked polish, the design felt bare-bones in all the wrong ways, and the magic that made that earlier community production shine was nowhere to be seen.

Ned Bennett's direction was equally baffling. The pace seemed really slow throughout, with Act 1 especially feeling like it really dragged. It also seemed as though the performers had been instructed to almost over-act. They weren't quite shouting, but they were talking really loudly throughout, meaning things seemed quite unnatural at points, stripping away any sense of intimacy.

I've no issue at all with gender-swapping the lead character Chris. Did it add anything different to the story? No, but it also didn't take anything away, so it avoided feeling like a gimmick. I was far more perturbed by how Chris's dad, Ed, was portrayed. He just seemed constantly annoyed and angry. I know that frustration is part of the character's story, but even in the moments when he is meant to be more paternal and tender, it really seemed like he didn't like his child at all!

To make matters worse, they'd also updated the piece so that it was set in 2026, which ultimately led to some glaring plot holes. Most notably, when there is mention of a family holiday to Cornwall, this new timeline sets that trip in July 2020 - when we were in the midst of a global pandemic and unable to even travel domestically! Little oversights like that completely pulled me out of the story. Frankly, I struggle to see how this was even missed by the creatives.

There are some saving graces, and they lie squarely with the cast. Alex Keenan completely steals the show as Chris. Navigating a massive, demanding role that rarely leaves the stage, Keenan brings tremendous physical commitment, vulnerability, and heart to the part, grounding the chaotic staging whenever she is in focus.

Having seen her in multiple roles on the stage, it's always a joy to see Charlie Brooks perform. Here she brings plenty of warmth and emotional weight to the role of Chris's estranged mother, Judy, making her letters and scenes in London genuinely affecting despite the unnatural volume required. Alongside her, Bridgette Amofah is a steady, calming presence as Chris's teacher and mentor, Siobhan, acting as a vital anchor for both Chris and the audience as she narrates passages from Chris's book.

Ultimately, though, strong central performances aren't enough to rescue a production that feels muddled, undercooked, and strangely amateurish. Having seen just how moving and electric this play can be when done right, I left the New Wimbledon Theatre feeling thoroughly underwhelmed.

If you want to make up your own mind, or if the premise of this piece intrigues you, then performances of THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME continue at Wimbledon until Saturday 14th November. CLICK HERE to find out more, and to book tickets.

Neill Kovacic-Clarke

All views are my own and I pride myself on being honest, fair and free from influence. Theatre is subjective and it is important to remember that all views expressed are just those of one person.

My ticket for this performance of The Curious Incident of the Dog in the Night-Time was gifted by New Wimbledon Theatre, who invited me to watch the show in exchange for my honest review. The fact that my ticket was gifted played no part in the content of my review or the star rating given.

CAST LIST:

Alex Keenan as Chris Boone; Bridgette Amofah as Siobhan; Charlie Brooks as Judy Boone; Joe McFadden as Ed Boone; Matthew Bulgo as Mr Shears / Duty Sergeant / Voice Two / Mr Wise / Man Behind Counter / Drunk One; Tom Clegg as Rev. Peters / Uncle Terry / Voice Four / Station Policeman / Station Guard / Puppeteer; Carla Garratt as Punk Girl / No. 40 / Voice Five / Information; Jerone Marsh-Reid as Mr Thompson / Man with Socks / London Policeman / Voice Three / Drunk Two; Alex Murdoch as Mrs Alexander / Mrs Shears / Voice One / Posh Woman; Sera Mustafa as Mrs Gascoyne / Woman on Train / Shopkeeper / Police Officer One / Voice Six; Robert Penny as Voice Seven / Station Guard / Puppeteer

CREATIVES:

Writer - Simon Stephens; Director - Ned Bennett; Designer - Eleanor Bull; Lighting Designer - Laura Deward; Composer and Sound Designer - Giles Thomas; Video Designer - Hayley Egan; Puppetry Designer and Director - Matt Hutchinson; Movement Director - Jennifer Jackson; Fight Director - Maisie Carter

RUNNING TIME (approx):

2 hours 20 minutes, including interval

CONTENT WARNINGS:

Strong language; Heightened sensory moments; Instances of ableist language; Discussions of death, grief, family illness, bereavement, and suicide; Scenes include animal death (the killing of a neighbour's dog), domestic violence, physical altercations, and emotional distress; Loud noises; White noise

AGE GUIDELINE:

10+

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