Equus was written by Peter Shaffer and originally performed in 1973, now in his 80’s Shaffer has been involved in some minor rewrites for this production. The author admits he is very fond of Equus.

I first saw Equus in the 1980’s at Dundee Repertory Theatre, being so much younger then I found it dark, depressing and fairly harrowing. This time round I actually saw quite a lot of humour within the text. I was also surprised by how up to date the premise, vocabulary and story line is. Probably the most poignant point that struck me was just how much psychiatrist Martin Dysart envies this very troubled young man. Alan Strang’s obsession and total all encompassing worship of Equus is something Dysart has never experienced in his life. 

The set is striking, with several walls displaying six illuminated horses heads set in a curve around centre stage and five archways set between the walls which later turn out to be actual stable doors.  Centre stage is a raised dais in the shape of a stubby cross. On which are four rectangular cubes the only furniture on stage.

Our introduction to the horses is shown by six actors stepping on to the stage in platform hooves taking the masks from the walls and putting them on. The actors then move with typical equine movements.

Simon Callow as psychologist Martin Dysart is also responsible for the narration and filling in all the extras required, in order to get as much out of the play as possible. Callow’s stage presence is amazing! He fills the full stage, yet is able to merge into the background when others need to be seen. Alfie Allen as Alan Strang, has an amazing family heritage with which either to fall back on or fight against. From what I saw young mister Allen will have no problems holding his own, despite his youth he is able to fulfill his character with great maturity. Linda Thorson as Hesther Salmon had been set the difficult task of judging Strang and deciding whether to put him in prison as the public want or take him to Dysart for treatment.

Colin Hurley as Frank Strang and Helen Anderson as Dora Strang, Alan’s parents, show the opposite poles of this magnetic family that are both pulling him apart and created in him what he is. Laura O’Toole as Jill Mason the stable lass is the final ingredient in the catalyst which leads Alan into contact with horses and his final bloody act in blinding six of them.

Michael Taibi has the unenviable task in being both the Horseman who first takes Alan Strang on to a horse, sparking off his obsession and he is also the horse Nugget with whom Alan develops his passions and forms secretive bonds. To me the most impressive scene in the play is when Alan demonstrates his secret riding out on Nugget. We see Alan climbing on to Nuggets back and watch as they walk, trot, canter then gallop and finally go through what seems to be Alan going through a climax.  Michael’s physique and equine movements make the situation more believable.

The rest of the cast are Andrew McDonald as Harry Dalton, Fiz Marrkus as the nurse and collectively Alex Cowie, Julius Agustin Ebreo, Robert Eugene, Nouska Hanly and Tohn Trindle are the other horses. They all work well together adding little unique insights into the situation.

Beautifully written, cleverly directed, the set is basic but extremely fittingly designed, dark and scary yet thought provoking. This piece of theatre is as relevant now as when it was written or possibly even more so.