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The book has sold 5.5 million copies, the play has been watched by more than five million people in Tokyo, Mexico, Budapest and Sydney. And still the juggernaut that is The Curious Incident of the Dog in the Night-Time rumbles on.
“I don’t really read reviews,” says Simon Stephens, who adapted the novel for the National Theatre in 2012. “I’m aware of the reactions by just sitting with the audience. That’s the main kind of interaction for me. And the reactions have always had a certain amount of euphoria to them. People have just loved it. Many of my plays have been bleak or weirdly upsetting. It’s been a real joy to be part of something that seems to make people so happy. They’re always smiling when they leave.”
The 10th anniversary tour of The Curious Incident of the Dog in the Night-Time touches down in Dublin’s Bord Gáis Energy Theatre this month, and the National Theatre’s dazzling production of Mark Haddon’s bestselling novel looks as innovative as ever.
Haddon, who wrote the book two decades ago, was initially reluctant to discuss a theatrical or cinematic adaptation of the material, given that so much of the playful text takes place inside the mind of the protagonist, a neurodiverse 15-year-old named Christopher.
“I first read the book when I was writing a play about atypical neurology,” says Stephens. “I found it moving and funny and wise and smart. That was years before I met Mark [Haddon], and started the adaptation. Because it’s written entirely from Christopher’s point of view and he has a limited interest in what concerns the people around him, it made me really wonder what the constellation of characters surrounding him were like.”
Stephens’ adaptation won a record-breaking seven Laurence Olivier Awards during its initial West End run in 2013 and six Tony Awards following its Broadway bow. Part of its success lies in the play’s dazzling aesthetic, which marries black box design, lighting that this newspaper’s Mick Heaney once compared to the movie Tron, hiding places, and hugely dynamic choreography as devised by physical theatre creatives Frantic Assembly.

The National Theatre’s production of Mark Haddon’s bestselling novel The Curious Incident of the Dog in the Night-Time


“I remember in 2003, when the book was first published, it was a novel that was read by everyone, including those people who were not ordinarily novel readers,” says Stephens. “And it read with the same kind of enthusiasm as Harry Potter. I really wanted to honour that democratic reach. My main point was that this should be a play that amateur dramatics companies or schools can put on. That you can put on for free in your local bar. I think that is in the heart of the actual text. The actual text does not prescribe or demand.”
Christopher’s investigation into the murder of his next-door neighbour’s pet spirals into a larger, scarier adventure and cover-up. The unspecified nature of his Autism spectrum disorder – the original print run of the novel mentioned “Asperger syndrome” in the blurb – proves both a blessing and a curse as he embarks on his quest to discover who killed Wellington the dog.
“It would be very easy to make Christopher black and white,” says David Breed, one of two young actors essaying Christopher on the National Theatre tour of the UK and Ireland. “But there’s so many layers to him. If he is asked if he misses his mom, he says: ‘No, I don’t miss her because she’s dead.’ That’s a very logical way of thinking. However, Christopher uses logic to kind of help him out with feeling. In reality he does feel sad. So he tries to rationalise it and use logic to cover it up. There’s so much detail in the script and so much nuance. It’s just a dream part for an actor.”
Although Haddon has expressed regret that “Asperger syndrome” was once specified, the book has proved an invaluable asset for those seeking greater acceptance of neurodiversity in general and the Autism spectrum in particular. It seems only appropriate that the production features David Breeds and Connor Curren – two neurodiverse actors – in the lead role.

Theatre has never been as open and accessible to neurodiverse sectors as it has been in the last three or four years. I’m just really excited to be part of that

“It’s a big old spectrum,” laughs Breeds. “I mean, I’ve got personal experience of some kind, without going into too much detail. There are certain bits about Christopher that I can relate to, fairly easily. There are other things about Christopher – like feeling overwhelmed – that everyone can relate to. I can pull up certain stuff up from my own experiences. But again, it’s such a wide spectrum, and we don’t say whatever condition Christopher has. We know that he finds people very confusing. We know he finds metaphors confusing. He likes to be in control. When he feels in control, he’s able to kind of manage the things that are going on in his mind, things that affect everyone. And it’s sometimes he can look quite selfish, but actually, it’s just that need. He has to keep a certain distance and maintain an equilibrium.”
Breeds’ wonderful performance lands at a moment when the West End is leading the way in terms of diverse casting. Pre-Covid, results from a 2019 study highlighted that BAME performers made up 38 per cent of cast members across the 19 commercial West End musicals surveyed.
“Whatever Christopher’s diagnosis is, I think it is important that this is the first time – to my knowledge – the role has been portrayed by two neurodiverse actors who are sharing the role,” says Rebecca Root, who plays Siobhán, Christopher’s teacher and confidant. “That is important. In terms of rehearsals, you know, we took that kind of on board, because you’ve got somebody from that community who is actually navigating the role and the job. We’re very aware of modes of practice. We think about how to work with someone who is neurodiverse, and what would work for them and what wouldn’t. Whether it’s gender identity or physical attributes, any minority audience is always keen to see authenticity. I think that’s what people crave, they want to see people like them going through other experiences, so they don’t have to. It’s very moving when you get a letter or email or message on Facebook or Instagram when somebody tells you about their experiences as a relative or teaching assistant. The play really speaks to those communities.”
“It’s really, really exciting,” adds Stephens. “I think everybody involved – from the production point of view – has learned a great deal. And you know, there’s part of me that wishes that I’d known about neurodiverse actors in 2012, what I know now. That the training that we can avail of now had been there in 2011. Theatre has never been as open and accessible to neurodiverse sectors as it has been in the last three or four years. I’m just really excited to be part of that, pushing that conversation forward.”
The cast and crew did considerable homework. For Root – a veteran performer who has appeared in projects from The Queen’s Gambit and The Sisters Brothers, to the transgender star of BBC sitcom Boy Meets Girl – details are a priority.
“I wrote a piece for the Guardian recently,” says Root. “It was a piece about Lady Gaga’s method acting for The House of Gucci. And in its article, I confess that I’m not a method actor, but I certainly do my homework. There’s a difference. Really, there’s this kind of character immersion where you’re living, eating, breathing, sleeping the role, like Lady Gaga or Daniel Day-Lewis. And then you’ve got an actor who’s diligent, who does their homework, and who reads up on a subject if they don’t know anything about it. And then they bring that knowledge to embody the role. I met with people who work with special educational needs...I met some teachers, I talked to people. I read books.Obviously, I had conversations with actors within the company and others who aren’t in the company. All those things really helped sort of inform my performance.”
The Curious Incident of the Dog in the Night-Time is at Bord Gáis Energy Theatre from April 26th