Equus

Alfie Allen and Laura O'Toole as ALan Strang and Jill Mason

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Review

'Equus' by Peter Shaffer

Equus was first performed in 1973, when, according to playwright Peter Shaffer: "in England, there was an outcry over the perceived cruelty to horses. In America, I was accused of cruelty to psychiatrists." Alan Strang, a boy of seventeen who has committed a terrible crime against horses, is sent to child psychiatrist Martin Dysart for treatment. Dysart himself is undergoing his own variety of mental trauma and the arrival of the boy forces him to question not just his profession but his entire attitude to living. Shaffer’s eerie play is an exploration of urges, desires and the necessity to become "normal."

Director Thea Sharrock has taken hold of this play with both hands, enlisting Equus veteran John Napier as designer. Together they create a beautiful and moving production, with Napier’s designs effortlessly segueing between the impression of an anatomist’s exhibition hall, the starkness of a psychiatrist’s office and the unearthly world of Alan’s stables. Their production is assisted by superb performances from a strong cast. Simon Callow as Martin Dysart brings out the touching humour of his odd role in the boy’s life, at the same time conveying frustration at both his profession and his inability to connect with the world in such a "primitive," visceral way. The physicality of the actors playing horses is faultless, growing ever present and more fearful until the terrifying dénouement.

Blending intense atmosphere, the glowing lights of horses’ eyes and an invitation to probe into the human psyche through the tricks of the psychiatrist, the production connects with human concepts of worship. Alfie Allen plays Alan Strang with the right balance of childish braggadocio and injured innocence, reliving his intense, religious experiences and placing the audience in the position of an often uncomfortable voyeur.

The link between desire, belief and a sense of the primitive is strongly pronounced, smoke rising from the stables and the boy on horseback like incense. Far from worrying that this play is no longer relevant, this production proves that Equus is as profoundly disturbing and moving as ever.

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