The Curious Incident of the Dog in the Night-Time

When a dog named Wellington turns up dead in a mid-size town in England, Christopher John Francis Boone, age 15 years, three months and two days and somewhere on the autism spectrum, takes on the task of uncovering the killer, which leads him on a journey of self-discovery, identity, and healing.

Living with his father, following the death of his mother two years prior, Christopher is gifted, a mathematical genius whose intellect is far superior to the banal world in which he lives. Just having a simple conversation or being touched by another person is his own personal hell. He takes in everything around him in ways your average person doesn't and can't. Glancing about a yard he'll have counted how many birds are on a telephone wire, for example, while we'll simply have noticed there are birds, and not really even thought about that.

Based on the Whitbread Book Award-winning 2003 mystery novel of the same name by author Mark Haddon, "The Curious Incident of the Dog in the Night-Time" won seven Laurence Olivier Awards, five Tony Awards (including one for Elliott for Best Director and Stephens for Best Play) and six Drama Desk Awards. The adaptation by Simon Stephens takes us inside Christopher's head, telling the story as a play within a play, seeing all of it from Christopher's point of view. And it's quite a point of view.

The elaborate lighting design by Paule Constable, the video design by Finn Ross and the sound design by Ian Dickinson for Autograph are critical components in illustrating the feverish, turbulent, almost manic happenings in Christopher's head. Adrian Sutton's music sets a gripping and suspenseful mood.

The walls and floor of the set are used to fantastic effect as video screens, doors, drawers and even as a chalkboard. Altogether, they create a thrilling and fascinating atmosphere from what is a simple setup. (Be warned that the use of lights and video, while it is indicative of the sensory overload Christopher is always experiencing, might be a bit overwhelming for delicate audience members.)

Adam Langdon as Christopher gives a stunning performance, by turns annoying, sympathetic and humorous with an inordinate amount of dialogue to remember. He doesn't just inhabit the role, he becomes Christopher. The complexity of the role is staggering and he makes it appear effortless. (Benjamin Wheelwright trades off with Langdon on certain days.)

Director Marianne Elliott takes a spare stage and a fairly small cast and creates an electrifying experience through the frenetic mind of our hero. She elicits solid performances from all of her actors, especially from Gene Gillette as Christopher's loving and hurting blue-collar father; Felicity Jones Latta as his overwhelmed mother (and who has several lengthy monologues); and Maria Elena Ramirez as Christopher's supportive mentor. John Hemphill gets a lot of laughs as Roger, Mrs. Boone's lover, and Kathy McCafferty, who gets a number of small showy roles, and nails every single one.

While the play may not be appropriate for small children due to the adult subject matter (they'd be bored), some language and the possibility that some of the lighting effects might frighten them, teenagers should be allowed to attend the production to learn about how the mind can work. It's a fascinating thrill ride that pays off emotionally. (Make sure to stay for the "After-the-Credits" sequence. It's a doozy.)

"The Curious Incident of the Dog in the Night-Time" runs through September 10 at the Ahmanson Theatre, 135 N. Grand Avenue, Los Angeles, CA 90012. For tickets or information, call 213-972-4400 or visit CenterTheatreGroup.org