The Curious Incident of the Apollo roof tumbling down in December brought media attention to Marianne Elliot’s production of Mark Haddon’s best-seller, but for all the wrong reasons. Fortunate enough to experience this slick West-end production a week before the disaster, I was struck by the incredible attention to detail which saw the seats with prime numbers (the protagonist’s mathematical love) accentuated with white seat-covers. Shame, then, that the £1-a-head ‘restoration’ levy for the theatre was not put to better use.
It is undoubtedly challenging to stage a novel which provides a touching insight into an autistic boy’s confusion as he investigates a murdered dog, but this production allows the audience to appreciate Christopher’s misunderstanding with sympathy. Tackled by Luke Treadaway, who never leaves the stage in an impressive display of stamina, the performance is convincing and the humour frequent.
From deafening white noise when characters accidentally touch Christopher, to coloured stage blocks which function variously as ovens, seats and suitcases, the technologies and staging are bold and relentlessly different. Regular black-outs and bright lights recreate the assault on the senses that the protagonist faces, though some of these innovations feel dramatic for their own sake.
However, none of the pyrotechnics or potential gimmicks detracted from the phenomenal quality of acting. Christopher’s parents were commendable, providing moving portrayals of the frustrations and complications of raising any child, but in particular one with autism. The supporting cast were also impressive. Treadaway is a strong lead throughout, although eases into character more in the second half: by his triumphant explanation of a Maths question as an unconventional encore, Treadaway is positively vibrant. Deserving of its seven Olivier Awards, I hope to see the Apollo theatre reopening this month to continue this hilarious yet poignant production.
