Theatre Review: ‘Equus’ at Actor’s Express

By Manning Harris
fmanningh@gmail.com

“Equus” is the Latin word for “horse.”  It is also the title of an electrifying play written by the British playwright Peter Shaffer (“Black Comedy,” “Amadeus,” “Lettice and Lovage”) 40 years ago. It had its premiere on the London stage in 1973, its Broadway debut in 1974 (with Anthony Hopkins and Peter Firth) and won the Tony Award for Best Play.

It is currently being revived by Actor’s Express in their 25^th anniversary season and has lost none of its ability to thrill and transport an audience; “Equus” is directed by David Crowe and will run through April 21.

It’s funny how our memories work:  My first experience with “Equus” was watching and hearing a young Barbara Walters, then a “Today” show host, unable to contain herself, regale her co-hosts and TV audience about attending the Broadway opening night of the play.  She was quite overcome, almost (but not quite) speechless with appreciation and awe about this play, its effect on her and the audience.  Of course, I could hardly wait to get to New York to see it.

When I did, I saw Anthony Perkins (“Psycho”) and Thomas Hulce (“Amadeus”) play Dr. Dysart and Alan Strang; but the play’s power was stark and unforgettable. Its themes are God, man, sex, religion, madness, rescue, and redemption. Mr. Shaffer had no time for the trivial or petty.

A terrible crime has been committed:  In southern England, a 17-year-old stableboy named Alan Strang (Kyle Brumley) has, for reasons unknown, blinded six horses with a steel spike.  His mind then retreats into some rock-hard crevice of his personality; he is placed in a psychiatric hospital where he will only speak in sing-song rhymes. He is put under the care of Dr. Martin Dysart (Chris Kayser), because Hester Saloman (Kathleen Wattis), a friend and colleague of Dysart’s, feels he has the best chance to reach the boy and shed some light on this mystery.

Meanwhile, Alan’s parents, Dora and Frank, very well played by Joanna Daniel and Rial Ellsworth, hover defensively in the background: Dora is hyper-religious, and Frank is an atheist. Both are stunned at what their son has done but, quite naturally, deny any complicity. Dora, in a powerful monologue, blames the devil:  “Let me tell you something.  We’re not criminals.  We’ve done nothing wrong.  We loved Alan.”

The heart of the play is the conversations/interviews between Dr. Dysart and Alan. It’s difficult to convey the intensity and theatricality of not only their interviews, but the whole play.  It’s staged simply,  yet the show has a primitive, almost mythic power.  Mr. Kayser as Dysart has the most lines and monologues.  Mr. Kayser is an artist of proven talents, probably the most well-known in Atlanta: Last May, for example, he astonished as Ariel in GA Shakespeare’s “The Tempest,” bringing energy and effervescence to a part usually played by actors much younger than he.  However, on the opening night of “Equus” he seemed a bit off his A game, especially in Act I.  But he bounced back in Act II, as he and Mr. Brumley verbally jousted the show into its stunning climax.

Mr. Brumley as Alan is a revelation; his concentration, intensity, and vulnerability are compelling.  Sarah Elizabeth Wallis, Rachel Shuey, and Jason-Jamal Ligon are all quite fine in key roles.

Some may find the psychiatric methods found here a bit dated, based largely on the studies of R.D. Laing, who was part of an “anti-psychiatry” movement in the 70’s; I have no problem with them.  Near the end of the play there is some nudity, which is crucial; by that point the tension is so high the audience is hardly breathing.  Bravo to Isabel and Moriah Curley-Clay, scenic and costume design; and thanks to Director Crowe and Artistic Director Freddie Ashley for bringing “Equus” to Atlanta.

For tickets and information, visit actors-express.com.