Mark Hadden’s 2003 bestseller is dream material for any imaginative dramaturg. The result from playwright Simon Stephens, director Marianne Elliott and their team is an exquisite work of art, incorporating clever lighting, movement and huge volumes of emotion.
It begins with a dog, a garden fork and a distressed 15-year-old boy. Christopher Boone (Joshua Jenkins) has trouble making sense of other people, especially when it comes to reading their expressions. Unable to lie, in many ways he is an innocent, yet one equipped with extraordinary amounts of resourcefulness and determination.
Christopher sets himself the task of solving the mystery surrounding the dog’s demise, treating it as a project, and takes us along for the ride.
And what a ride it is. Through the street he lives on, to the train station and then into the bewilderment of the London underground. At times Christopher’s sensory overload became my own, as crowds ebbed and flowed, lights fractured and sound pulsated – ringing through us, the audience, as well as our hero on-stage.
There are moments of real fear amid the overriding tension, as well as sublime beauty, magic and even peace. The scene where Christopher imagines being an astronaut is particularly elegant.
Joshua Jenkins is extraordinary as Christopher – as the character he reels off strings of facts, figures and theories at speed, uses the entire stage and the full scale of human emotion. The whole cast were excellent – his parents, played by Gina Isaac and Stuart Long, were especially impressive – drawing us deep into Christopher’s vibrant, sometimes alarmingly intense, world.
The answers he finds in his search aren’t the ones he’s anticipating. If you’ve read the book, I urge you not to re-read it before seeing the play as the surprises when they come are revealed with grace as well as gut-wrenching power. As audience members we emerged exhausted but exhilarated – and, unexpectedly, understanding Pythagoras‘ theorem.
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