A dog lies centre stage, a garden fork thrust through its lifeless body. Mrs Shears (Amanda Posener) and Wellington the dog's owner stand at the corner of her garden, aghast at the bloody sight.

Kneeling at the body of the canine is 15-year-old Christopher Boone (Joshua Jenkins). This is the impactful and intriguing opening scene of the National Theatre of Great Britain’s highly acclaimed stage adaptation by Simon Stephens of Mark Haddon’s novel, The Curious Incident of the Dog in the Night-Time.

Christopher inhabits a world defined by his unique view of reality. He finds people confusing. He takes the world literally as he sees it, and he is utterly focused on his purpose.

Nothing can sway him from his will to discover who killed Wellington. He is determined to find his mother in London. He is resolved to sit his Maths A-Levels.

As Christopher, Jenkins gives a performance so real, so convincing and so engaging. It is compelling in its honesty. Christopher’s responses to his circumstances, though they may appear at times contradictory: detached, volatile, impassionate or sharply analytical, demonstrate a natural will that more often exposes the weaknesses, inconsistencies and absurdities in the other characters, who find Christopher’s behaviour perplexing and inexplicable.

Neither Ed, the father (Stuart Laing) nor Judy, the mother (Emma Beattie) appears able to handle Christopher’s behaviour. Only his teacher Siobhan (Julie Hale), who serves as narrator and confidante, appears to have an affinity with Christopher, though even she at the end of the play is unable to answer Christopher’s question, “Will I be able to succeed at anything?”

Other characters –the neighbour Mrs. Michaels (Amanda Posener), the policeman (Matt Wilman), the Reverend Peters (Bruce MacGregor) or Mr Shears (Oliver Boot) can only perceive the world from their limited and self-interested perspective.

The Curious Incident of the Dog in the Night-Time is more than a search for the dog’s killer. It is a riveting and revealing investigation of human nature. The simple plot exposes complex issues, often enveloped in turmoil and personal torment. Ultimately, Chris’s brave and resolute journey opens a window to empathetic acceptance.

The National Theatre of Great Britain’s production exceeds all superlatives. Simon Stephen’s adaptation is powerfully direct in its exposure of human nature in short, economical and succinctly pertinent scenes.

Marianne Elliott’s direction is inspired. Performances by the play’s superbly cast ensemble are almost disarmingly natural and real. The cast bring the stage to life as they transform from their different roles to objects to people on an underground train or to actors bearing Christopher high in the air in a display of graceful physical theatre.

The timing is exquisite, Frantic Assembly’s choreography magical, with every scene morphing seamlessly to the next. Bunny Christie’s imposing, technically whiz-bang, graph-patterned set is highlighted by Finn Ross’s accompanying video designs.

Every moment of this production is a theatrical gem, dazzling in its brilliantly executed elements. The deliciously ironic humour throughout lends the production comic relief with thought-provoking revelation on the nature of human behaviour.

Don’t rush for the door after the curtain call. There’s a final surprise in store. With such a limited season, the National Theatre of Great Britain’s touring production of The Curious Incident of the Dog in the Night-time is a theatrical tour de force and a rare opportunity not to be missed at any price.

The Curious Incident of the Dog in the Night-time. Adapted by Simon Stephens from the novel by Mark Haddon. Directed by Marianne Elliott. The National Theatre of Great Britain. Toured by Lunchbox Theatrical Productions. Canberra Theatre Centre, until July 1. Bookings www.canberratheatrecentre.com.au or 6275 2700.