EQUUS
reviewed by
NANCY SNIPPER
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EQUUS -- A REMARKABLE RIDE IN THESPIAN
EXCELLENCE
Without
a doubt, Segal
Centre’s production of this daring play
stunningly brings together those most coveted elements of great
theatre: brilliant acting, a set that visually transports the
audience into mind, matter and magic, and lighting merging with
music and set to enhance the emotional tenor of plot, mood and
character. In this case, the plot places Alan Strang a 17-year-old
tormented man in the care of Dr. Martin Dysart, a brilliant
psychiatrist who admits both his profession and his beloved
books on Greek mythology painfully fail in waking him up to
passion that he longs for and witnesses in his patient. In fact,
he is envious of the demented teen who has scorched out the
eyes of five horses in the stable where he was working. If only
he could feel, as his patient does! But will the reason come
to light as to why the supposedly gentle Alan would do such
a hideous act? Sex, religion, secrets and repression find their
outlet in Alan’s deeply disturbing fantasies. As the truth
unfolds, the play reaches a climax of such intensity that audience
and character seem to become one. Bravo!
It
is a brilliant play that rightfully earned a Tony in 1975. Written
by Peter Shaffer, Equus epitomizes the virtues of British
playwriting at it best. Sharp dialogue delivered with crisp
intensity and wit wound into a taut knot vividly highlight the
actors’ sterling performances dedicated to the intent
of action. The British accents, sparse movements and uncomplicated
connectedness played in contrast to the inherent dramatic horror
of the event that gives rise to the play itself.
Without
going into a who’s who, suffice it to say that director
Domy Reiter-Soffer is giftedly artistic. He is a painter, writer,
designer and teacher hailing from Israel. His bold and inspired
vision of Equus demonstrates a rare ability to integrate
and combine video, dance and music into an organic whole that
plays to the play’s very essence; it is nothing less than
sheer genius.
Jean
Marchand in the role of Dysart is spellbinding, utterly articulate
and natural in the role. He is a gifted actor. Likewise, Dan
Jeannotte as Alan Strang was truly amazing and wholly believable.
It is not easy for any actor to bare both soul and body in front
of an audience, but Jeannotte was mesmerizing as he performed
his most powerful scene where he blinded the boundaries between
man, horse and woman. Supportive roles, impressively played
by Susan Glover as judge Hesther Salomon; and Daniel Lilliford
as Alan’s father, along with Patricia Summersett as Jill
Mason, a stable girl who desired Alan, did not go unnoticed.
Kudos to veteran lighting designer, John Dinning whose gifts
have garnered countless awards –- his set design creations
have filled stages all over the world, and in this particular
play eerily anchor the wonderful, evocative music composed by
Christian Thomas who surely would have been grabbed by Alfred
Hitchcock were he still alive. Bravo for this superb production
of Equus, which in my mind far surpassed the production
I saw in New York City 35 years ago.