Both script-wise and stage-wise, The Curious Incident of the Dog in the Night-Time at Florida Studio Theater is deeply involving. It’s more of a dramatized novel than a typical mystery play. Its hero, who either is autistic or suffers from Asperger’s, is portrayed by an autistic actor. It’s full of mathematical reasoning but also of contradictions to it. It reveals neighbor and family relationships along with cosmic ones, all of which become interdependent. Alexander Stuart, as a fictional star set in a real, multidimensional universe, shows intriguing Christopher’s mind as he goes beyond solving a mystery to learn to navigate beyond his heretofore tight world. A sole problem with Stuart’s inspired portrayal is that he’s obviously older than 15, an age that textually incites others’ opinions and actions toward him. Possibly, playwright Simon Stephens thought he could fudge on age by putting the action within a reading by Christopher’s teacher Siobhan (here the excellent Ashton Heyl) of the book he writes about his actions. Todd Licea gives a clear, direct portrayal of Christopher’s father, loving but perplexed by him and unwise in his marriage and an affair. Acting as Judy, the mother who loves but found herself unable to cope with son or husband, Rachel Moulton wins sympathy for her dilemma. Six other actors give seasoned performances, each in a variety of roles—from neighbors to lovers, police to reverend. Only Stuart's Christopher, though, reacts with everyone and even delivers an after-play explanation to his break-through solution to a climactic math test. Director Richard Hopkins succeeds in the monumental task of getting all his cast members to be individuals to the audience who also accept Christopher’s deviations from his own behavioral prescriptions. Though aided by Sunny Hitt’s direction of movement and Dan Granke’s of fights, Hopkins always responsibly guides overall technical as well as artistic decisions. Set designers Isabel and Moriah Curley-Clay house, simply but starkly, not only box-like props but also Bobby Johnson’s stunning projections under Thom Beaulieu’s excellent lighting. Thomas Korp’s sound adds to the production’s impact, which is definitely not curious.
