A Very Fine EQUUS indeed.

By Gene - 18th Dec 2003

It is in the nature of Peter Shaffer's EQUUS that productions are memorable theatrical experiences. If the production is good then the power of the story and imagery can be truly moving, if the production is poor then the audience is usually set for an embarrassing evening from which the script will not save them. Those lucky enough to see Gene David Kirk's production will probably not see as good an interpretation again. Ever. Anywhere.

The play looks at a child psychiatrist, Dr Dysart, undergoing a professional crisis. The Crisis is brought to a head through the presence of a young boy (Alan Strang) who has blinded six horses with a metal spike. The (rather simplistic) journey of unravelling the boy's story through his own revelations and meetings with his parents and 'girlfriend', allow Dysart to look at his own doubts, expressed in part to the audience and in part to the Magistrate who sent the boy there. The story is told with an on-stage chorus who enact the parts and represent the horses. Peter Shaffer has put a lot into the play, Directors can chose which emphasis they take in each production; how much is Alan's story, how much Dysart's? how will the religious symbology be handled? how are the horses represented and choreographed?

Mr Kirk's interpretation was well thought out and executed, he even managed to bring new understanding to a piece where often all that is attempted is a re-creation of the original production. Not so here, the (very) Greek Chorus, Metro Boulot Dodo inspired opening, video sequence and other touches and the teamwork on stage kept us guessing and produced a very moving, very in-your-face production. You could, quite literally, hear a pin drop as the audience was drawn in and sat, stone-still, watching the story unfold; as much a part as the chorus as the chorus are, as witnesses to the events, essentially a part of the 'audience'.

Sean Carrigan's performance as Alan was nothing short of spectacular. Never less than utterly convincing his performance became more intense as the play went on and his final scene, played naked and screaming in the centre of the stage, was actually emotionally draining to watch. To contrast with this, Paul Fowler's Dysart was a calmer, more centred individual, always credible as the 'ring master' to Alan's explosions. A difficult part as it combines a central journey of the play, the role of narrator and an almost monosyllabic interviewer as he pursues answers from the other characters. For the rest of the cast, I can but say they were a fine team with moments of real excellence in their performances.

In conclusion, if you saw it you will remember it for a very long time. If you missed it … ahh, you'll never know!