The essence of desperation permeates Peter Shaffer’s 1973 narrative, which intertwines themes of sexuality, divinity, and equestrianism. Director Lindsay Posner presents a meticulous revival of Equus, capturing the dynamics of shifting power, the emergence of homoerotic longing, and the captivating presence of a stallion.
Noah Valentine delivers a taut performance as Alan Strang, a troubled 17-year-old who, while spending weekends at a stable, blinds six horses. After remaining silent in court about his motives, Alan finds himself in therapy with Martin Dysart, portrayed by Toby Stephens, a disheveled psychiatrist. As their sessions unfold, Alan becomes engrossed in the attention he receives, relishing the thrill of recounting his story. Meanwhile, Martin grapples with losing his authority over Alan and begins to question his own identity.
At the rear of the stage, a group of six silent men stands, their bare chests marked with black. These individuals represent the horses, their powerful forms gracefully merging to create a single majestic entity, guided by James Cousins’ evocative choreography. Departing from the traditional use of metal horse heads, the production features Paul Pyant’s lighting that glistens off the men’s bodies, symbolizing Alan’s deep-seated admiration for these animals. The young boy observes their movements with reverence as he tends to their sides and nimbly climbs onto the shoulders of Ed Mitchell, who plays the lead horseman.
Staged on a thrust stage where every seat offers a good view, Posner’s production stands out not only for its strong narrative but also for its most riveting moments of raw intensity. While the ensemble of horses enhances the experience, it is Valentine’s portrayal that truly captivates. His performance embodies both the profound devotion of a passionate individual and the naive fantasies of a lonely youth in search of purpose.
The origins of the play are notable; upon learning the fundamental details of a real-life crime, Shaffer contemplated the motivations behind it. Posner’s interpretation delves into the complexities of blame, with Colin Mace’s stoic father shifting responsibility onto Alan’s mother, played by Emma Cunniffe. Yet, through Stephens’ psychiatrist, a more profound and destructive concern emerges: what is the value of a life devoid of fervent passion?
This production is currently running at the Menier Chocolate Factory in London until July 4.
