The Curious Incident of the Dog in the Night-Time. Caxton Theatre, Grimsby 16 October 2025.

The Caxton Players’ production of The Curious Incident of the Dog in the Night-Time is, quite simply, a revelation. Under the assured and visionary direction of Stephen Labourne, the play unfolds with extraordinary clarity, emotion, and theatrical ingenuity. The Caxton Theatre in Grimsby, often a home for bold and ambitious work, becomes something transcendent this week, a space where local theatre blossoms into something breathtakingly professional.

From the opening moments, the production draws the audience into Christopher Boone’s world with precision and imagination. The set is simple yet remarkably functional, allowing the story’s emotional and psychological depth to take centre stage. Rear projection is used with inspired creativity, transforming the space with light, shape, and colour. One moment we are in a quiet suburban garden under the harsh glare of a streetlamp, the next we are swept into the clattering chaos of a London Underground station. And when Christopher’s imagination takes flight in the exquisite “space” sequence, the combination of projection, lighting, and movement choreography achieves something magical, providing a visual metaphor for freedom and escape that is both beautiful and heartbreaking. It’s one of those rare theatrical moments where form and emotion align perfectly.

At the heart of the production is James Lusty as Christopher Boone, and his performance is nothing short of extraordinary. Lusty never leaves the stage, embodying Christopher with unwavering concentration and sincerity. Every gesture, tic, and glance feels studied yet completely organic, reflecting both the character’s acute intellect and his deep vulnerability. His portrayal captures the child-like curiosity that drives Christopher, but also the emotional turbulence of a boy who processes the world in a way that is both fascinating and isolating.

Lusty’s performance demands not only emotional honesty but also immense physical and vocal control. Whether he is piecing together the mystery of the murdered dog, confronting his parents’ betrayals, or journeying through the overwhelming bustle of London, Lusty maintains a rhythm and energy that never wavers. His ability to hold the audience’s empathy, to make us see the world through Christopher’s eyes, is the beating heart of this production. It is, without exaggeration, an inspired piece of casting and an astonishingly accomplished performance.

The strength of this production lies not only in Lusty’s performance but in what I believe is possibly one of the strongest ensembles ever assembled at the Caxton Theatre. There is no weak link. Each actor brings a clear, confident understanding of their character and of the delicate tonal balance the play requires.

Gemma Quickfall delivers a beautifully poised and empathetic performance as Siobhan, Christopher’s teacher and mentor. She serves as both narrator and moral compass, guiding the audience gently through the complexities of Christopher’s world. Quickfall’s calm presence and warm, grounded voice create a sense of safety and order amid the chaos. Her interactions with Christopher are tender and quietly humorous, revealing a deep trust between teacher and pupil. Quickfall captures Siobhan’s compassion without ever straying into sentimentality; instead, she radiates patience and understanding. Her connection with Lusty’s Christopher provides the emotional anchor of the play, and their scenes together shimmer with authenticity.

As Ed, Christopher’s father, Dean Wright gives a raw, layered, and deeply human performance. He portrays a man torn between fierce love for his son and crushing frustration at the challenges of raising him. Wright’s physicality, the weariness in his shoulders, the flashes of anger, the desperate tenderness, all speak to years of emotional exhaustion and devotion. There is real complexity in his portrayal; even in moments of harshness, we feel the aching vulnerability underneath. When the truth about Wellington and Judy is revealed, Wright’s quiet collapse of guilt and shame is heart-wrenching. His final scenes with Christopher, filled with tentative reconciliation and hope, are performed with remarkable restraint and honesty.

Louise Blakey’s Judy is a performance of emotional intelligence and warmth. From her first entrance, Blakey exudes a sense of a woman who has been broken by circumstance but not by love. Her guilt and regret are palpable, but so too is her fierce determination to reconnect with her son. Blakey’s emotional range is impressive as she moves effortlessly from heartbreak to humour, from guilt to defiance, and every moment feels rooted in truth. Her scenes with Lusty are among the production’s most affecting, particularly their reunion, where Blakey manages to blend maternal affection with raw uncertainty.

As Mrs Alexander, Julie Flint provides a wonderful counterpoint to the intensity of the Boone family. She brings warmth, humanity, and an understated grace to her scenes, creating moments of calm reflection amidst the play’s turbulence. Flint captures the essence of a neighbour who sees more than she lets on, offering Christopher, and by extension, the audience, small glimpses of kindness and normalcy in a world often filled with misunderstanding. Her interactions are measured and genuine, her compassion never overstated. Flint’s subtlety ensures that Mrs Alexander becomes one of the play’s quiet heroes.

Jo Cox takes on dual roles as Mrs Gascoyne and Reverend Peters, and in both she displays impressive versatility. As Mrs Gascoyne, she is every inch the pragmatic headteacher playing her as authoritative, brisk, and no-nonsense, yet Cox finds moments of humour and warmth that prevent the character from becoming one-dimensional. As Reverend Peters, she softens her tone to convey calm guidance, bringing a touch of gentle comedy to the production’s lighter moments. The clarity of her characterisation in both roles demonstrates a finely tuned awareness of rhythm and tone, and her stage presence enriches every scene she appears in.

Keiron James is a powerhouse of energy and transformation, slipping seamlessly between Mr Shears and various other roles. As Mr Shears, he brings a sardonic edge, creating a man both defensive and unapologetically self-interested. Yet James’s sharp timing and physical control ensure that even in his antagonism, the performance remains believable rather than cartoonish. In his other guises, he injects bursts of humour and realism, whether as an officious policeman or an impatient desk sergeant. His ability to differentiate each role through posture and expression speaks volumes about his range and skill.

Alison Stretton brings vitality and flair to her trio of characters of Mrs Shears, the London Policeman, and the Punk Girl. As Mrs Shears, she conveys both irritation and compassion, her scenes charged with subtle tension that hints at the complex relationships underpinning the play’s early mystery. Her London Policeman is brisk and efficient, adding a sharp comic note to the bustle of Christopher’s city adventure. And as the Punk Girl, she completely transforms into a lively, irreverent character, full of attitude, providing a moment of levity as Christopher's art escapes into the London Underground.

Making a welcome return to the Caxton Theatre after 12 years, Becky King makes the most of her time on stage as the British Rail policeman, grounding the scene with crisp authority and believable realism. Her exchanges with Christopher are both funny and exasperated, perfectly capturing the everyday frustrations of bureaucracy colliding with innocence. King’s performance is controlled and precise, and though brief, it leaves a strong impression which is a testament to her timing and presence.

Collectively, this ensemble operates with precision and purpose. The transitions between scenes are fluid and purposeful, thanks to Labourne’s deft direction and the cast’s evident unity. The choreography, particularly in group sequences, is beautifully synchronised, with every performer contributing to the rhythm of the storytelling. The movement is never decorative and it always mirrors Christopher’s point of view, sensory experiences and moments of overload.

Stephen Labourne’s direction is, quite simply, masterful. He understands that the heart of The Curious Incident lies in its humanity, and he allows that to shine without losing sight of the play’s technical precision. His use of projection, sound, and lighting is not just functional but poetic, with every design choice reinforcing the audience’s emotional connection to Christopher’s journey. The production’s visual simplicity belies a profound sophistication, using space and image to remarkable effect.

The Caxton Players’ Curious Incident is not just good amateur theatre - it is great theatre, full stop. It demonstrates what can be achieved when vision, discipline, and love of craft come together. Every performance, every cue, every emotional beat feels meticulously considered and deeply felt.

Audiences will leave the Caxton Theatre not merely entertained, but moved, reminded of the beauty of empathy, the importance of understanding, and the transformative power of storytelling. In short, this is a production that raises the bar for local theatre and redefines what “amateur” theatre can mean.

Andy Evans 16 October 2025