Peter Shaffer's Equus took theatre by storm when it first arrived, and did so again recently in a revival. At the core of the play are the confrontations between Psychiatrist Martin Dysart and seventeen year old Alan Strang, who, in a fit of violence, has blinded six horses with a metal spike, and yet they are an animal he adores, making his actions even more mystifying, and shocking. Part mystery, as Dysart tries to find out what happens, this focus changes to why, as the plot navigetes its way through Strang, his family, a repressed, atheist printer, and his teacher mother, who is very religious, while also looking at themes of guilt, secrets, real people and passion. But while Strang is the one being looked at, Dysart questions his own life and insecurities, as well as what good his own job is doing, almost admiring Strang's ability to feel both pain and passion, to a heightened sense of worship.In recent times, we are used to this kind of dramatic, structured confrontation between patient and psychiatrist, In Treatment comes to mind, as well as other works, but the idea still holds up, like solving a mystery, but the power of the play comes when Shaffer asks 'why'? Symbolism is used a lot in the language, and reflects in the symbolic use of the horses, masks being used to depict them, designed by John Bowes, that in a small space works fine, and thankfully in theatre, due to its nature, makes it all the more possible. And it is the horses, and Alan, that we see when we first arrive into the theatre, as he stands close to them, in reverence of their stature and beauty, and while we sit, the other characters emerge to look and disappear, to a soundtrack of dissonant music, which other than giving us a preview of characters, does little else, and is repeated on return after the interval.
There is intensity in the play, which predominates more than anything else in this production, directed by David Doyle. Kyle Hixon as Strang brings a lot of this intensity to the role, more so in the second act. It is Janine Hardy as Hesther Saloman, the magistrate, who in a controlled and thoughtful performance brings some emotion and understanding to the words being delivered. For not being on stage much, Hardy commands it well, and brings a quiet authority to proceedings. Tomas Gleeson as Dysart, does bring that sense of self loathing and disdain to the part, although the portrayal tends to be very even throughout, coming across at times as very dry, lacking nuance. There is a lot of shouting going on, and at times you wonder if this is a substitute for emotion, or passion.
The set is simple, a wired off room at the back, with a plain bed that doubles as Alan's room and the stables, other wise the stage is open, save for two seats, and in a recess Dysart's desk, that, from where I was, was not really visible despite many lines being delivered from it. The lighting continued the dark theme, designed by Darren Sinnott. At times is felt as if only a part of the stage was being used, with lines being rigidly delivered from where they ended up, making it all feel a little underwhelming.
This is Fruitfly Productions first production, and, even by their own admission, is a brave, if not ambitious try. This is admirable in itself, for ambition is important, as is their desire to dust of theatrical gems which have been forgotten or not staged in Ireland. In Equus, there is the feeling that while it strikes both these ideas well, it doesn't make the impact it was looking for. In the end, it felt subdued, and in need of a little passion, rather than shocking. It will be interesting to see how this company grows as they gain experience, as they are a young company, and what productions they put on in the future.
Runs until 31st May
Poster courtesy: David Doyle
Poster courtesy: David Doyle