“The Curious Incident of the Dog in the Night-Time” has come from London’s West End to the Barrymore Theatre in Times Square, joining the pantheon of some of the theater world’s best. It is safe to say that the play, based on Mark Haddon’s novel of the same name, is not only rightfully among its equals, but is above and beyond Broadway audiences’ expectations. To witness “The Curious Incident” is to see a bizarre, eccentric and outright brilliant piece of theater that defies what is possible for a narrative play.

“The Curious Incident” follows the tribulations of Christopher Boone (Alex Sharp), a 15-year-old British boy who falls somewhere on the autistic spectrum and has a love of stars and logic. He goes beyond the banality of his neighborhood to solve the murder of Wellington, his neighbor’s dog. In doing so, he confronts his fears of the modern world and the creeping secrets hiding behind people’s words. Chris is sincere and determined, but ultimately alienated. He has a refreshed view of the world and of people.

What seems to be a lighthearted, whimsical production quickly turns into a daunting and eye-catching portrait of a human who cannot understand us and, as a result, is incomprehensible to us. However, the genius lies in that the audience can connect to his frustration, to the exasperation of those who try to protect him, because of two things — Sharp and the play’s direction.

In his Broadway debut, Sharp is a revelation as Christopher. Everything he expresses is visceral and at the cusp of something very real. His character is psychologically far beyond what a normal person can be, and luckily, Sharp holds a talent that is far beyond normal. Of course, the supporting cast members play their parts fantastically. Ian Barford is heart-wrenching as Chris’ struggling father, distraught and forever striving to replace his frustration with admiration for his son and his difficulties.

The stage, as a representation of the world, is a triumph. It is just three plain walls, blue cross-patterns suggesting a digitized modernity.

The walls hold hidden compartments with ever-replenishing props. Then those walls can become anything the directors want — an observatory to view the theater-eating galaxy that splatters the faces of patrons with bright stars, the goliath chaos of London’s metro systems and maps and algorithms through the eyes of Christopher.

There is not a single thing done in any part of the play that does not serve the entirety, for even the smallest business becomes something extraordinary. The set is just like Chris himself. It is unassuming at first, but eventually it becomes whatever it so desires. The set is clever and duplicitous in its sincerity.

“The Curious Incident of the Dog in the Night-Time” is technically excellent and carries a profound message about the indifference of the world to the truly special. In that way, it is perfect, and so far beyond Broadway’s other offerings.

“The Curious Incident of the Dog in the Night-Time” is playing at the Barrymore Theatre, 243 W. 47th St.

A version of this article appeared in the Thursday, Oct. 23 print edition. Email Nikolas Reda-Castelao at [email protected].