The Curious Incident of the Dog in the Night-time

📖 Read Through: Sunday 19th April | 10:00am – 12:30pm | Talisman Foyer

Audition Date: Saturday 2nd May 2026

⏰ Time: 09:30

Venue: Talisman Theatre

Playing Dates: 28th Sept – 3rd Oct 2026

Director: Sharon Sully
Production Manager: Sam Harris
Movement Director: Alasdair Stewart

Play Synopsis

Based on the bestselling 2003 novel by Mark Haddon, this inventive play follows Christopher Boone, a fifteen-year-old with an extraordinary gift for mathematics and a unique way of seeing the world. When he discovers a neighbour’s dog dead, Christopher sets out to solve the mystery – uncovering secrets about his family along the way.

Haddon’s novel, inspired by his own interest in neurodiversity, blends heart, humour, and suspense, exploring how we all navigate relationships, truth, and trust. The stage adaptation transforms Christopher’s extraordinary perspective into a visually striking, emotionally rich theatrical experience.

We’re looking for actors of all ages and types to bring Christopher’s world to life – from family and neighbours to the quirky, chaotic characters he encounters. Physicality, energy, and the ability to embrace humour and heart are essential.

The Creative Team

Sharon Sully – Director

I am thrilled to be making my directing debut at the Talisman Theatre, though hopefully many of you will already know my face! For anyone new to the theatre or attending auditions for the first time, I can promise a warm and welcoming environment. I’ve been acting locally since 2017, studied Drama at university, and also manage all things publicity at the Talisman. I’ve been eager to step into the director’s chair for some time now, and this play captured my heart from the moment I discovered it. As a passionate advocate for celebrating neurodiversity, I love how this story raises awareness with such warmth, humour, and emotional honesty.

I’m delighted that Sam Harris, a highly experienced director and performer, will be supporting me as Production Manager. Sam will keep us on track throughout rehearsals and bring her wealth of expertise to the rehearsal room, ensuring the production runs smoothly from start to finish.

Equally exciting is that Alasdair Stewart will join us as Movement Director. From the moment I read the script, I knew that visual storytelling through movement would be central to our creative vision. As a former Motionhouse dancer and choreographer, Alisdair will lead all movement throughout the show, ensuring rapid scene changes are seamless and that moments requiring physical storytelling fully bring the ensemble together on Christopher’s journey. This is a play that demands precision, physicality, and collaborative energy, and I’m looking forward to working with a company empowered by Alasdair’s guidance and expertise.

Production Details

Director: Sharon Sully
Production Manager: Sam Harris
Movement Director: Alasdair Stewart

Playing Dates: Monday 28th September – Saturday 3rd October
Including a Relaxed Performance on Wednesday 30th September at 7:30pm as part of the run.

Please note: We may add an additional matinee show on Saturday 3rd October if ticket demand requires it, so you will be expected to keep this date available. Confirmation will be given a few weeks before the show opens.

Rehearsal Commitment

We will be rehearsing from the beginning of August through to the end of September and into showrun week. As this play involves physical movement from the ensemble working with the main characters to seamlessly deliver a technically challenging and fast-moving piece of theatre, full commitment is vitally important.

• First two weeks of August: Can be used for main character exploration; some absences for holidays can be accommodated, as this is peak holiday season.
• From mid-August to show opening: Ensemble and movement sequences form a vital part of the visual storytelling. Significant absences for holidays cannot be accommodated during this period.

It is essential that any holidays are pre-declared at the audition. If you know you will be away for a week or more from mid-August onwards, unfortunately you cannot be considered for this production.

Significant holidays that are not pre-declared and become apparent after casting may result in re-casting, to ensure the smooth running of the production, the creative team’s sanity, and the commitment of fellow company members. Please be honest about this at audition stage.

Read-through

Sunday 19th April | 10:00am – 12:30pm | Talisman Foyer

A relaxed opportunity to read through the play, explore characters, and decide if this is a project you’d like to audition for. All over a cuppa (or coffee!) and, of course, biscuits. A warm, friendly environment — come say hi, meet the team, explore the text, and hear it brought to life out loud.

Audition Date

Saturday 2nd May

• 9:30am: Arrival / Sign-in / Tea & Coffee & Artistic Director Welcome
• 10:00am – 12:00pm: Movement Workshop with Alasdair Stewart
• 12:00pm – 12:30pm: Lunch / Refreshments (please bring something to keep you going!)
• 12:30pm – 2:30pm: Character Auditions for all roles

Short extracts will be provided in advance to allow preparation for spoken dialogue scenes with other actors. People will be swapped in and out so everyone gets a chance to be heard on the day. 

For the movement section of the auditions, come ready to move! Movement will be workshopped on the day with Alasdair – so nothing needs to be prepared in advance. Just bring energy, focus, and be ready to explore the movement material as part of the audition.

If there is a very large turnout, an additional audition date will be arranged if needed.

All roles: Please come ready to work physically, in comfortable clothing and footwear.

Character Breakdown

Even though the principal roles — Christopher, Siobhan, Ed, and Judy — do not multi-role, each will form an integral part of the play’s physical storytelling. You will be asked, at times, to move with purpose, respond to the movement of others, or inhabit the stage in a way that supports and enhances the ensemble’s fluid transitions. Physical awareness, spatial intelligence, and the ability to integrate seamlessly into the flow of the production will be essential.

Siobhan, in particular, is less involved in the more active physical sequences, as her role is largely focused on narration and guiding Christopher’s story. She is often a steady presence, observing, responding, and supporting, but she will still interact physically with the world around her at key moments, particularly when her observations dovetail into ensemble movement sequences.

All principal performers should come prepared to work in a collaborative, movement-driven environment, where even moments of stillness are part of the choreography. The more comfortable you are using your body as part of the storytelling, the more fully you will inhabit the world of the play.

Characters:

Christopher Boone – (Male – Playing Age: 15 (over 18+ required for casting purposes, but someone who visually looks close to age 15)

On stage throughout. Christopher Boone is an intelligent, logical, and highly observant teenager who experiences the world through patterns, facts, and absolute truths. He struggles with emotional expression and unpredictability, but his apparent detachment masks deep sensitivity and vulnerability. Driven by a need for order and honesty, Christopher is courageous in his own way, facing fear through logic and determination as he navigates a chaotic world on his journey toward independence. Socially awkward. Avoids eye contact. Significant amount of lines to learn.

Siobhan – (Female 30-55)

Christopher’s teacher. On stage throughout. Christopher’s conduit to the real world and a safe person. Calm, patient, and emotionally steady, offering him structure, clarity, and genuine respect. Communicates directly but softly, without judgment or condescension, and values honesty and consistency above sentimentality. Narrates Christopher’s diary and interacts mainly with Christopher.

Ed – (Male 40-55)

Christopher’s dad. Protective, well-meaning, and loving, but expresses care through control and routine rather than emotional openness. Practical, anxious, and driven by fear of losing Christopher, he sometimes makes poor decisions and struggles with honesty. Ed tries to create safety by limiting Christopher’s world, with intentions rooted in care, but his need for control often clashes with Christopher’s need for truth and independence.

Judy – (Female 35-55)

Christopher’s mum. Loving but overwhelmed, struggling to cope with the emotional demands of raising Christopher. Feels deeply and reacts impulsively, swinging between warmth and frustration. Fiercely devoted yet imperfect, defined by the tension between wanting to be a good mother and needing space to breathe. Script references her being from London originally — neutral Southern / soft London accent could be explored.

Ensemble / Multi-rolling characters

Our ensemble is at the heart of this production. Many roles are multi-rolling, meaning you may shift from active ensemble member into a fully realised character within seconds — perhaps with a scarf, glasses, or hat/jacket — and then seamlessly back again. Clear physical choices, posture, gesture, rhythm, and energy are key. Scenes move fast, often flowing directly into each other as space, time, and chronology shift. Ensemble will drive fluidity, help transform the stage, and become part of the environment in abstract or symbolic ways. Includes powerful sequences such as Christopher’s overload moments, daydreams, and train station journey, led collaboratively by Alisdair Stewart. Strong physical movers needed; not traditional dance, but physical storytelling with emotional clarity.

Mrs Alexander / Posh Woman / Voice Six – (Female 60+)

Mrs Alexander is a kindly old lady, one of Christopher’s neighbours who tries to help him. Most interaction is with Christopher mainly in Act One; strikes up a fondness for him and provides some of the play’s humour.

Mrs Shears / Mrs Gascoyne / Voice One / Woman on Train / Woman on Heath / Shopkeeper – (Female 35-55)

Mrs Shears owns the dead dog that opens the show. Mrs Gascoyne is Head Teacher at Christopher’s school. Also plays other characters throughout Christopher’s encounters. Must be comfortable with adult language.

Roger (Mr Shears) / Duty Sergeant / Voice Two / Mr Wise / Man Behind Counter / Drunk One – (Male 35-55)

Appears in multiple Act Two scenes with Judy and Christopher. Needs to act unnerving/drunken in one scene. Duty Sergeant interacts with Christopher early in Act One. Man Behind Counter is the ticket seller at the train station. Drunk One on train is larger-than-life and part of the loud characters Christopher endures on his journey to London.

Policeman 1 / Mr Thompson / Voice Three / Drunk Two / Man with Socks / London Policeman – (Male 30+)

Policeman 1 appears in the opening scene and confronts Christopher about the dog, and again in Act Two at Judy’s house. Man with Socks at the train station begrudgingly helps Christopher. Drunk Two on train is larger-than-life, part of loud London characters.

No. 40 / Voice Five / Lady in Street / Information / Punk Girl – (Female 20’s-30’s)

No. 40 is a neighbour questioned by Christopher about the dog. Lady in Street interacts with Christopher in Act Two just before his train journey; Punk Girl appears once he arrives in London and is very different from the neighbours he knows. Must have edgy delivery, including Cockney/Essex accent.

Reverend Peters / Uncle Terry / Voice Four / Station Policeman / Station Guard – (Male 40+)

Will need a range of voices/accents and physicality. Reverend Peters works at Christopher’s school and provides humorous dialogue. Uncle Terry appears briefly. Station Policeman is comedic in Act Two during Christopher’s London journey.

Please ensure that you fill out the audition form below so we know who and how many people to expect at the audition, and which role(s) you’re interested in. This allows us to plan ahead. Anyone is welcome to attend the read-through, of course.

Sharon Sully 07584 906717.

There are a limited number of scripts available for perusal, but these must be returned before the read-through so that we have enough scripts for everyone.

As with all auditions at The Talisman Theatre, there is very much an open audition policy in place and we welcome anyone to come along to the theatre and audition for the available roles. Please see our diversity statement below for more details…