11.52°C Paul T. Davies reviews Equus, presented by Headgate Theatre Productions at the Headgate.
For my money, Peter Shaffer’s Equus is one of the greatest plays of the twentieth century. First staged in 1973, it features the relationship between psychiatrist Martin Dysart and 17-year-old Alan Strang, a boy who blinded six horses in a savage attack. In trying to find the reasons behind Alan’s actions, Dysart faces his own existentialist crisis, as he feels the emptiness of his world contrasting with the passion and worship that Alan creates. It’s a powerful piece, not least because it requires hypernaturalism and ritualism, horses presented by actors, and Alan’s inner world has to be realised convincingly.
Co-directors Sharon Carter and Toby Roberts have created a searing, beautiful production that serves the text extremely well. The staging and lighting by Mike Sullivan create clear areas of stables, office and homes, and the pace flows superbly. It is performed by an exquisite ensemble with no weak link in the cast.
George Penny gives an incredible, nuanced performance as Alan, his vulnerability and his defence mechanisms firmly in place, and, despite his actions, we fully understand the febrile environment he was created from, and he evokes great sympathy. As Dysart, Dean Bartholomew has the difficult task of keeping his emotions in check, mainly questioning and delivering the scenes to Alan until his speech at the end. I didn’t feel the emotional impact I expected here, but it was the first night, and I’m sure this will come. In any case, it is a tender, convincing performance.
Clare Allmond and Steven Lello must be singled out for their excellent performances as Alan’s distraught parents. Ellly Kent Dyson is totally convincing as Magistrate Hesther, Tim Young is excellent as gruff stable owner Harry and Rosie Allen really finds Jill’s mischief-making and then concern.
There is impressive and stunning work from the chorus of horses, particularly Adam Webb as Nugget (and the Horseman), who brings powerful, muscular physicality; the scenes between him and George Penny are among many highlights. The horses and the cast watch the action throughout, remaining connected to the events, and Nugget looks at Alan throughout, making theirs the strongest relationship in the play.
The blinding, when it happens, is subtly done and no less shocking, but I felt it was a little rushed, and there are moments the play could breathe a little more. These are minor quibbles in a production that pays enormous tribute to the text, filling the space with tension, drama, and a fine example of storytelling. One of the best productions of the year.
