Simon Stephens' adaptation is a life-affirming and unmissable’ smash-hit production bringing Mark Haddon’s best-selling novel to thrilling life on stage.

Christopher, fifteen years old, stands beside Mrs Shears’ dead dog.

It has been speared with a garden fork, it is seven minutes after midnight and Christopher is under suspicion. He records each fact in the book he is writing to solve the mystery of who murdered Wellington.

He has an extraordinary brain. He is exceptional at maths, while everyday life presents some barriers. He has never ventured alone beyond the end of his road, he detests being touched and he distrusts strangers. When he falls under suspicion for killing his neighbour’s dog, it takes him on a journey that upturns his world.

Reviews of the Play

"This adaptation by the acclaimed playwright Simon Stephens is intensely, innately theatrical; it is also funny and extremely moving."
Laura Thompson for The Daily Telegraph

"a highly skilful adaptation... as Christopher's parents movingly remind us of the messily contradictory human emotions that co-exist with their son's world of perfect patterns." Michael Billington for The Guardian.

"This is a profoundly moving play about adolescence, fractured families, mathematics, colours and lights." Michael Coveney for The Independent

EDI Assessment

In line with our EDI policy, we undertake an EDI impact assessment of all our artistic programming. This play has a central diversity message exploring the experiences of a young neurodivergent person as they interact with the people and the world around them. In alignment with the novel, the individual cast as the central character of Christopher should be able to convincingly play a male-presenting person of 15 years old. On the character notes, there are indications where specific playing gender identifications are called for, however most characters can be cast completely neutrally with regard to gender/gender identity, ethnicity, age and disability.

The novel of the same name by Mark Haddon was released to great acclaim in 2003 and was adapted for the theatre by British playwright Simon Stephens in 2012, premiering at the National Theatre. Now, Chris Ingall takes the reins, bringing it to Earlsdon’s Criterion Theatre for a week of performances.

At its core, it’s a simple tale – a teenage boy sets out to solve the mysterious murder of a neighbour’s dog. But this disturbing act is merely the catalyst for a series of twists and reveals, all centered around the play’s lead character, 15-year-old Christopher Boone, a neurodivergent teenager.

Boone’s condition is never explicitly mentioned in either the book or the play, but it’s assumed to be high-functioning autism. He’s astutely intelligent but struggles with social interactions and loathes physical contact. The book faced various criticisms at the time of its release, partly due to Haddon’s admission of doing little research on the subject, but it’s convincing enough here on stage.

Charlie Maline shines as Christopher, delivering a performance that feels nothing short of a small miracle, given he was brought in with only two weeks’ notice after lead actor Daniel Peckett had to pull out due to illness. He plays the likeable protagonist well—an awkward, stiff soul prone to verbose ramblings about whatever topics flutter through his cluttered mind. There’s a fine line to tread when portraying characters with mental illness, as performances can sometimes feel exaggerated or parody-like. Thankfully, Maline avoids this, delivering a convincing performance throughout.

Christopher’s investigations take him from the relatively safe confines of his neighbourhood into the wider world, and it’s here where the stage and sound design really shine. Public situations that many of us would take for granted—like buying a train ticket or travelling on the tube—are directed as if scenes from a horror movie, with overlapping sounds creating a cacophonous racket that mimics Christopher’s inability to drown out the noise of life.

As well as being a physical journey, it’s an emotional one—particularly one of self-discovery, as Christopher learns more about his own past while trying to navigate a confusing and uncertain future.

It might all sound particularly grim, but it’s not without its comedic moments—in which, importantly, we’re laughing at Christopher’s approaches to his skewed version of the world, never at him. A strong ensemble cast carries the narrative along nicely, with the unique element of always having them on stage. Their voices often represent Christopher’s inner turmoil and emotions. Anne Bevan and Lilian McGrath deliver strong performances as his teacher Siobhan and mother Lilian, adding depth and emotional warmth to a complex narrative that jumps through time, again reflecting Christopher’s scatterbrained approach to chronology.

A few stumbled lines and awkward pauses can be chalked up to opening night nerves and didn’t detract from an entertaining and emotional evening of theatre. It’s an ambitious piece, one that has been more than adequately given the respect it deserves.

David Court - Elementary WhatsOn

How a single actor can elevate an entire company is an intriguing question. It happens rarely, but when it does, you know you are in the presence of someone truly gifted. Enter Charlie Maline, a Swindon native, who takes on the role of Christopher in the Criterion’s production of The Curious Incident of the Dog in the Night-Time. His performance is so accomplished, so utterly believable, that I found myself wondering whether he might actually be on the autistic spectrum. His portrayal is consummate, professional, and blurs the line between form and reality—yes, it really is that good and I retract not a syllable. Oh, and did I mention that the actor took over the leading role a few days ago?

Most theatregoers will be familiar with Curious Incident, a critically acclaimed hit in both London and New York. Originally staged by the National Theatre, it tells the story of Christopher Boone, a 15-year-old autistic boy and mathematical genius—possibly a savant. The plot revolves around Christopher’s investigation into the mysterious death of a neighbour’s dog, intertwining with his complex relationships with his parents and school mentor. The stage adaptation cleverly reworks the novel by shifting its narrative voice, presenting the story as a play-within-a-play—an approach that works beautifully.

The Criterion’s production, seen on its opening night, is staged minimally. Flats and a large HDTV serve as the only permanent fixtures on an otherwise sparse set. Objects and furniture are cleverly manipulated: blocks become beds, desks, and room dividers, ensuring that this episodic, fast-paced play maintains momentum. A minor late cue or two—understandable on opening night—did little to detract from the production’s energy.

Typically, Curious Incident is cast with actors playing multiple roles, seamlessly shifting between characters. The Criterion, however, has opted for a larger ensemble of twelve, each dedicated to distinct parts, from train passengers to punk rockers. The supporting cast is excellent. Positioned at the rear of the stage throughout, they observe, comment, and react, creating a layered and dynamic presence. 

Their movement and interaction, under strong direction, keep the action fluid and engaging on the large Earlsdon stage.
Lillian McGrath delivers a beautifully understated and natural performance as Christopher’s mother. Her emotional shifts are finely tuned, offering a sympathetic portrayal of a woman torn between the pain of leaving her child and the realities of life in London. Her eventual reunion with Christopher is both touching and maternal, their relationship utterly convincing.

David Grove, as Christopher’s father Ed, is initially a hard, unsympathetic figure—quick-tempered, emotionally barren, and deeply flawed. He elicits real disdain in the first act, but in the second, upon hearing of Christopher’s exam success, his transformation is profound. Suddenly, he is a man of compassion, hope, and—finally—love. The moment is beautifully played, its rhythm delicate and sincere, managing to be both heartbreaking and darkly funny.

Anne Bevan also shines as Christopher’s teacher Siobhan, providing warmth and wisdom throughout. Particularly in Act Two, her presence reinforces the play’s emotional depth, guiding both Christopher and the audience through his journey.
Structurally, Act One leans heavily on exposition, with Christopher’s book being read aloud between and during scenes. While necessary, there are moments where a fully staged scene might have been preferable. However, altering this would likely add another 30 minutes to the runtime, and I am not here to critique a tried-and-tested masterpiece.

Director Chris Ingall has crafted a production filled with striking visual storytelling. The staging of Christopher’s journey from Swindon to London is especially masterful—fluid, fast-paced, and technically impressive. Ingall’s use of movement, sound, and lighting immerses the audience in Christopher’s experience, his sensory overload palpably realised as he navigates the Underground, ATM machines, and the overwhelming bustle of the city. The direction ensures we don’t just watch Christopher’s journey—we experience it with him.

Yet, for all its strengths, this evening belongs to Charlie Maline. Yes, he has played the role before. Yes, he clearly enjoys it. But what sets him apart is his sensitivity to the character’s condition, his natural talent, and his total command of the material. His performance is nothing short of exceptional—one of the true highlights of the season.

The bottom line: Coventry’s Criterion excels with a touching, intelligent production of Simon Stephens’ modern classic. And with Maline at its heart, it will only get better as the run continues.

Mark Pitt - Choppa.com