Tuesday 27th October 2026 at the Grand Theatre and Opera House, York
⭐⭐⭐⭐
Reviewer: Kate Sanderson
Ned Bennett’s new production of The Curious Incident of the Dog in the Night-Time brings Mark Haddon’s much-loved story back to the stage with some excellent performances and interesting changes, most notably a female lead in the role of Chris. Adapted by Simon Stephens, the award-winning play remains as popular as ever, and this latest production is thoroughly enjoyable.
The story follows fifteen-year-old Chris, who finds understanding other people a difficult task. When she discovers that a neighbour’s dog has been killed, she decides to investigate, uncovering some uncomfortable truths about her own family along the way. What begins as a murder mystery soon develops into a much more personal story about Chris and her relationships with those around her.
Alex Keenan, herself autistic, is excellent as Chris, bringing comedy, charm and a thoughtful understanding to the role. Where previous male portrayals have shown Chris lashing out when overwhelmed, Keenan’s Chris shuts down completely, at times lying on the floor, unable to communicate. It’s a powerful physical performance, leaving the audience sharing her parents’ helplessness as they struggle to reach her. Keenan handles these moments just as convincingly as Chris’s bursts of confidence when discussing mathematics or pursuing her investigation.
Charlie Brooks and Joe McFadden play Chris’s parents, Judy and Ed, and both offer sympathetic portrayals of characters who are far from perfect. Their decisions are sometimes difficult to defend, but it’s equally difficult not to feel sorry for them as the extent of their struggles becomes apparent. Interestingly, there’s a certain emotional distance in their relationships with Chris, particularly when compared with Bridgette Amofah’s Siobhan. Amofah brings a reassuring warmth to the role, and her connection with Chris feels much more natural and comfortable. There’s something quite telling about the fact that Chris seems to find more understanding from her teacher than from either of her parents.
Eleanor Bull’s set design takes a relatively simple approach, but there are some strikingly inventive moments throughout. One particularly effective scene sees Chris arrive in London, where the staging captures the overwhelming sights, sounds and sensations of the unfamiliar city. Laura Deward’s lighting and Hayley Egan’s video design are especially effective in helping the audience understand how Chris experiences and processes the world around her. At times these choices are funny, inviting the audience to share in Chris’s unique perspective, while at others they create a genuine sense of discomfort as we experience something of her confusion and distress. It’s this ability to put the audience in Chris’s shoes that makes the production so clever, offering an insight into her experience that goes far beyond what the dialogue alone could achieve.
There’s plenty to enjoy in the way the story moves between moments of humour and more difficult family revelations. The uplifting conclusion, however, is genuinely moving. There’s a real sense of achievement in seeing how far Chris has come, and Keenan does particularly well in conveying her growing independence.
Ultimately, Bennett’s production offers a fresh and enjoyable interpretation of a story that continues to resonate with audiences. It may not quite match the visual spectacle of earlier stagings, but the performances are strong, Keenan is a particularly impressive lead, and the story itself remains as compelling as ever.
The Curious Incident of the Dog in the Night-Time is at the Grand Theatre and Opera House, York until 31st October 2026 – more information and tickets can be found here.
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