Review: Equus

Peter Shaffer’s 1973 play gains new life under the direction of Aoife Pallister Begadon, whose tastefully subtle production allows the actors to take the reins of their characters, providing the audience with an unforgettably powerful show.

Inspired by a true story, Shaffer’s play is told through the perspective of Martin Dysart, a psychiatrist who is devoted to his work yet ambivalent to its outcome. His new patient, 17-year-old Alan Strang, is responsible for blinding the eyes of six horses. Dysart’s fascination with his patient grows as the play unfolds and we learn about the lead up to the boy’s crime. Eventually, it leaves him with a twisted affection for Strang, and an unearthed hatred for the practice of psychology.

Image credits: Benjamin Nicholson.

The directors (Begadon, Jake Fenton, Alix Addinall, James Critchley) made many successful decisions for this production, with the use of the chorus being particularly striking. Their precise movements and sound imitations created a minimalist but convincing depiction  of the horses. They convey the gentle yet menacing nature of these creatures, which really helps the audience understand Strang’s spiritual idealization of them. Their performances as individuals as well as as a collective are also noteworthy, especially the intriguing dynamic between Bella Ridgwell and Maddie Smith’s respective performances as Frank and Dora Strang.

Mark Jones’ portrayal of Alan Strang is nothing short of magnetic. He brilliantly captures Alan’s  torment, intimidation and hostility whilst also demonstrating a childish naivety. It is impossible to merely antagonize Strang, for the intricate complexities of Jones’ performance persuade us – as Dysart believes – that he is the most human character within the play.

Gregory Miller likewise gives a nuanced and compelling performance as Dysart. He effortlessly and skillfully transitions from a noticeably anxious but generally composed character, to a completely guilt-ridden man, fuelled by a hatred of society’s banality. Both actors lend their dedication and talent to many captivating dialogues that entrance the audience.

Image credits: Benjamin Nicholson.

The intensity of the performances is complemented by the understated technical and set design. I loved how the production crew beautifully enhanced the theme of religion through their creativity. From Grace Heslin and Stephanie Cho’s fantastic set of a stable made from perverse crosses, to the incorporation of choir music and seamless lighting, the production crew created a hauntingly distinct style for the show.

Last, but certainly not least, we must talk about the topic of my nightmares for the next few weeks: Dixie McDevitt’s horse-head puppets. What are essentially red-stained sacks over heaps of wires are truly terrifying works of art. It is unquestionable that everyone involved in this production possess remarkable talents.

Miller as Dysart. Image credits: Benjamin Nicholson.

There were occasional technical and choreographic delays, yet this did not prevent Equus from receiving enthusiastic applause at the ends of both acts. A play worth everyone’s time, Equus offers strong competition to many professional shows.

4.5/5

Equus will be running at the ADC Theatre from Tueesday 15th to Saturday 19th February at 7:45pm.  Tickets are available here.

Feature Image Credits: Aoife Pallister Begadon