My take on the Curious Incident play

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Last Saturday I finally got to see The Curious Incident of the Dog in the Night-Time play in the West End. I say ‘finally’ because I have wanted to see it ever since I first read Mark Haddon’s book a few years ago and loved it. I was actually due to see the play a while ago in the West End but it was shortly after the roof collapsed in the theatre, so I’ve waited until now to see a captioned performance of it by STAGETEXT at a different theatre, the Gielgud Theatre.

Because the book is written in the first person from the point of view of Christopher, the main character, I did wonder how they would be able to convey on-stage the unique way he sees the world, and whether it would work or not. We are led to believe that Christopher has Asperger Syndrome, a form of autism, so because he is telling us the story, we see things through his eyes and we are introduced to his magical, brilliant, but altogether confused, mind.

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Christopher is a fifteen-year-old boy, who is brilliant at maths and needs everything to be logical and organised to be able to be calm and focused. When they’re not, which is quite often the case, he becomes overwhelmed and terrified, unable to function in a noisy, chaotic world, which is full of things and strange behaviour by other people, which he can’t make sense of.

The way that this was done on-stage was actually very clever. Siobhan, Christopher’s teacher from his special needs school, narrated his story from the book that he had written, at the same time as the actual acting of his story was taking place. It worked well and it was really convincing.

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Apart from being a good story, which was very well acted, the other brilliant thing about this production was the stage set. My wife, friend and I had excellent seats in the Dress Circle, facing right onto the stage, with the two STAGETEXT caption units perfectly placed at eye level to either side of us, so I could follow the dialogue really well.

The stage was designed like a giant geometric grid. At various points throughout the action, it would light up with bright colours, flash lots of numbers up or project different sets such as Paddington Station or London streets. Watching the stage sets change, sometimes with walls closing in, opening up or escalators suddenly appearing in the tube station, was like walking into a magical, fantasy world as Christopher’s almost psychedelic imagination is unleashed upon us.

I thought the actor, who played Christopher, Kaffe Keating, was very convincing. I read an article in the programme afterwards by the author of the original book, Mark Haddon, which I thought was really insightful. He talked about how Christopher describes himself as someone who has ‘Behavioural Problems’ because that is the term medical professionals have used to describe him. He says that labels like that tell us very little about the person who has been labeled and a lot about the people doing the labeling. In other words, often well-intentioned people are searching for the correct PC term to use to label a disabled person, instead of treating that person like an individual and trying to find out what they are like by just talking to them and getting to know them.

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Disabled people are all different and unique, just like any other group in society, so if someone asks whether Christopher is a correct representation of someone with autism, we shouldn’t really be asking that question. After all, he says, we wouldn’t ask if a character, who is a cellist, lesbian or archbishop, for example, are representative of those types of people, so why should we assume that people with a certain disability are representative of all people with that disability either?

The irony is that Christopher is labelled as having ‘Behavioural Problems’ when the adults around him, such as his father and mother, are dysfunctional and cause Christopher a lot of pain and suffering with their own behaviour. His father, for instance, played brilliantly by Nicholas Tennant, is unable to cope with Christopher or communicate well with him, so he goes from lying about his mother leaving him to try and save his feelings to lashing out at him from time to time through sheer frustration. Similarly, his mother left him to run off with the neighbour to London, partly because she is unable to cope with Christopher and deal with her emotions.



Christopher can talk to people who aren’t close to him, though, such as his teacher Siobhan, as well as his kindly old neighbour Mrs Alexander. He also seems to have a special bond with animals, which he doesn’t have with people as he lacks empathy for them and can only see things in a simple, logical way. He obviously loved his neighbour’s dog Wellington, who we see has been brutally murdered at the beginning of the play. He also loves his pet rat Toby, who he insists on taking with him on his terrifying trip to London to try and find his mother.

I don’t want to give any more of the plot away for anyone who still hasn’t read the book or seen the play. Needless to say I thought this production was brilliant. It was very well acted and watching it was a real delight because the visuals, special effects and stage set were just incredible. It was definitely worth the wait. If you haven’t seen it yet, I’d definitely recommend it!

Curious Incident blog Christopher


Charlie & the Chocolate Factory: a deliciously dark treat!

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I have very vivid memories as a child watching the original ‘Willy Wonka & the Chocolate Factory’ film made in 1971. I watched it with my family on TV every Christmas and I loved it. Gene Wilder as Willy Wonka struck me as a fantastically charismatic but strangely dark, sinister character, while Charlie Bucket and his Grandpa Joe seemed to have a great time on their adventure together. This film was so colourful, creative and weird. It was like a magical childhood fantasy.

Many years later, I was working for a company, which hired out two-way radios. I sometimes used to go to deliver the radios to film sets, where they were often used on big productions. I remember going to Pinewood’s 007 set, where they were doing the 2005 remake of the film called ‘Charlie & the Chocolate Factory’, starring Johnny Depp as Willy Wonka. This was a Tim Burton production and when I arrived on the set, I was amazed at how lavish, creative and surreal the set design was. The scale of it all was epic.

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The set was not computer generated like most of them are now, so everything had been created and made from scratch. It was amazing. I remember having to replace some of the radios, as they had fallen into the giant running chocolate waterfall on the set, and were covered in a gooey, chocolate-brown substance.

When I saw recently that there was to be a captioned performance of the West End musical production of ‘Charlie & the Chocolate Factory’ at the Theatre Royal, Drury Lane, I jumped at the chance to see it. Perhaps I am still a big kid at heart, but I was really excited about it. I asked some of my friends on social media if they wanted to come along with my wife and I, so a group of us ended up going to see the matinee performance together last Wednesday.

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This big West End production is being directed by the Hollywood Director Sam Mendes, who has directed two of my favourite films, ‘American Beauty’ and ‘Skyfall’, the James Bond film. I knew it would be a lavish stage production with very imaginative, visually creative sets.

One of my friends, Adhiti, has only recently had her new cochlear implant switched on after her operation, and she was very excited to see this musical. She had never seen a captioned performance before and was curious to find out what it would be like and what the music would sound like with her new cochlear implant.

We had really good seats in the Royal Circle, with excellent views of the two STAGETEXT caption units at both sides of the stage. It was really busy for a matinee performance as there were lots of school parties there, as well as lots of tourists.

Right from the start, the stage sets were awesome and on an epic scale. Visually, they were stunning, as they were very creative and inventive. It was just like a magical fantasy world. I don’t think I’ve ever seen such lavish sets like it on the stage before. In the first half, we saw a lot of touching scenes of Charlie, with his parents and grandparents, who were desperately poor, but had immense pride, honesty and dignity. This was hugely contrasted with the scenes showing TV interviews with the four other Golden Ticket prizewinners, who were all either grotesque, fat, immensely spoilt and brattish or subversive.

These scenes were brilliant and very surreal. The stage was designed like you were looking inside a giant TV. One of my favourites was the interview with the hugely brattish girl Veruca Salt and her father, Mr Salt, the peanut millionaire. He reminded me of ‘Swiss Toni’, the spivvy fictional used car salesman character from the Fast Show.

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Also, I loved the interview scene with the subversive ‘techno terrorist’ kid Mike Teavee and his ‘Stepford wife’ mother Mrs Teavee, who was dressed as a 1950s housewife, but who was drinking ‘mummy water’ to calm her shot nerves because of her son. It was brilliant.

The second half was set mainly inside Willy Wonka’s chocolate factory, but the stage sets changed constantly, mixing real sets with huge projected images, showing the different operational parts and engine rooms of the factory. The scene showing the garden made of edible sweets with the running chocolate fountain looked amazing. It was a very magical scene with beautiful flowers and brightly coloured sweets and lollipops.

Charlie and the Chocolate Factory
All of the scenes were visually stunning and true to my memories of the original film. In one scene there was a row of puppet squirrels in a production line testing out nuts and setting off a red alarm flashing a warning of “Bad nut!”. The scene became hilarious when Veruca Salt decided that she wanted one of the squirrels as her own and rushed to grab one, only to find her father and herself going down the bad nut chute.

Alex Jennings, who played Willy Wonka, managed to capture the mixture of crazy, colourful, enigmatic genius in this character with his dark, weird side, brilliantly. The way he showed no remorse or compassion towards the other four children dispatched rather bizarrely along the way, showed his really sinister side. But at the end of the day, this story is a morality tale, with Wonka ending up leaving his beloved chocolate factory to the most deserving and humble child, Charlie.

We all really enjoyed watching this show and found it amazing. Adhiti told me that she had really loved it and that she had had “the best day”. I saw on Twitter that there had been another captioned performance that evening, with a large group of deaf people enjoying themselves watching it.

It goes to show that deaf and hard of hearing people love watching captioned musicals. I only wish that there were more of them, as they are usually restricted to one or two shows per theatre out of the whole season and there are several shows that I still want to see which aren’t being captioned at all. The runs of these big productions are really long, so come on theatre groups! Why don’t you make your musicals more accessible, so more deaf and hard of hearing people can enjoy a great night out?

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