{"id":9767,"date":"2019-03-19T19:11:14","date_gmt":"2019-03-19T19:11:14","guid":{"rendered":"https:\/\/laughfrodisiac.com\/\/?p=9767"},"modified":"2019-04-16T12:36:55","modified_gmt":"2019-04-16T12:36:55","slug":"equus-at-theatre-royal-stratford-east-insanity-beyond-reproach","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2019\/03\/19\/equus-at-theatre-royal-stratford-east-insanity-beyond-reproach\/","title":{"rendered":"Equus at Theatre Royal Stratford East: Insanity Beyond Reproach"},"content":{"rendered":"\n

It’s Theatre Tuesday! Today’s show is Equus, playing at the Theatre Royal Stratford East in London until Saturday. <\/em><\/p>\n\n\n\n

\u200bEquus, often referred to as the play about horse-blinding, is (obviously) not one that I ever actively wanted to see, not even when it starred Daniel Radcliffe in the role that famously gets nekkid (in fact, as much as I love Danny Rads I do not want to see baby boy HP naked). Not only is there the animal cruelty that kicks off the action, there\u2019s also insinuation (at the very least) of bestiality and some bizarre af conversations about religion and worship. Not to mention gutting children as part of ritual sacrifice! Suffice it to say, I was ready to avoid another production of this intense show. But then I noticed all those dastardly other<\/em> critics raving about how amazing this production is, and how it\u2019s the best production of this enduring work that you will probably ever see in your lifetime. So I had to see the big forking thing! And you know what? It is disturbing, it is unsettling, it is alarming, and it is quite possibly the best production of Equus you will ever see in your lifetime.<\/p>\n\n\n\n

\n\n\n\n

I know, that\u2019s some serious praise for a play that could be called by the (hilarious) nickname for the 2018 Best Picture winner if you replace \u2018horse\u2019 for \u2018fish\u2019 (and \u2018play\u2019 for \u2018movie\u2019 obviously). Despite the outrageousness of the topics raised, all the shocking, provocative bits fit together with all the deep psychological questions like puzzle pieces that together fascinate by asking what is normal and who gets to decide. Equus, written by Peter Shaffer, is such a weird, intense show, but with impeccable direction by Ned Bennett and stellar, incredibly physical performances, it feels significant and vital in its scrutiny of what causes psychological issues and whether they are indeed abnormal. Although it got a bit close for my taste at almost excusing the actions depicted, the play effectively forced a deeper look at what constitutes wrong vs. right, normal vs. abnormal, and evil vs. sickness.

Equus concerns the aftermath of a horrific event: when teenager Alan Strang blinds six horses at a stables in his English countryside town. I know, if you are not a maniac, you\u2019re like what a forking asshole, send that kid into a hole and seal it shut! But instead of being imprisoned, he is sent to an inpatient psychiatric facility under the treatment of Dr. Martin Dysart, because some people think that sending every troubled person to prison to rot and waste resources and never have the chance to get needed treatment or other kinds of help might not be the smartest thing to do as an overused default! I know!

As the troubled teen Alan, the actor Ethan Kai is riveting. Kai possesses that magic presence, I don\u2019t know if it\u2019s his offset eyes or his wild curls (curlygirl method?), but he demands your attention regardless of whether he\u2019s speaking. This is some perfect casting. He\u2019s terrifying in his intensity and you hate him for his evil actions but you also want to figure out why and how he got so broken. I\u2019m not gonna go so far as to say you root for him, but you start to kind of care. As does his doctor, played by Zubin Varla (who we last saw as the father in Fun Home<\/a>), who so strongly feels a connection to this kid that he begins to question why he is the one considered normal while Alan is the troubled one. Why, Dysart asks us, is a guy who has wasted his life doing the same routine, never feeling anything but what comes from the mundane acts of everyday life, the one considered normal, correct, someone who has succeeded, when he himself feels like a failure for that very monotony. Although Kai has the more obviously difficult, dynamic role, Varla has an equally challenging task with Dysart, who is even-keeled but having revelations that threaten his natural state. Varla sometimes veered into comedic faces and voices to handle this character\u2019s changing thoughts, which didn\u2019t jive with me, but that\u2019s a tiny quibble.

What brought this production to a higher level of theatre was the direction. Ned Bennett\u2019s vision focused on an empty, stark stage, literally no set pieces to start except a mug for ashes (there was too much onstage cigarette smoking, btw; I\u2019m over this as a way to develop a character). As the show unfolded, an entire effective world was built with lighting, physical movement, and creative set work. The expert use of lighting, the impressive backstage mechanics sending whatever was needed through the flowing curtains on each side, and the use of minimal but effective set pieces (like the sand castles that were shoved out, wow) all created an unbelievable sense of world cohesion and beyond creative stage magicians. More than anything, the magic on that stage came from the actors\u2019 movement. Shelly Maxwell\u2019s movement direction helped the actors behave scarily like horses, especially the standout Ira Mandela Siobhan as the most beloved horse Nugget. He begins the show slowly morphing and moving exactly like a horse, which is the moment when I thought \u2018oh this shit\u2019s gonna be SPELLBINDING.\u2019 And it was, especially when he was onstage. He must be a dancer of some sort. Man those shoulder blades can TURN. When he and the other main horse dude (Keith Gilmore), as nurses, picked up Alan while he was curled in a ball like he was an immovable object, I almost gasped. That was some amazing shit! And the two of them, whenever it was their turn to be a horse (sometimes with the other as rider, I can\u2019t even fathom how strong they are), were so convincing and committed, I would put them up against the War Horse puppet any day.

Even though this is exactly the sort of play that gives me endless agita, Equus is one of the rare masterworks that makes the agita worthwhile and essential and important, in no small part because of how it is directed here. I have never been so struck by how flawless, innovative, imaginative direction can so transform a show. Equus is a psychological thriller but not in the usual sense \u2013 instead of a murderer on the loose or something like a typical thriller, it\u2019s literally a thriller about psychology, about how a person can get so forked up, whether it\u2019s because of his parents, because of religion, because of nature, or a mixture of all these possibilities. Sure the more theoretical discussions about what can be worshipped and how (hint: probably not horses, probably not with bestiality) are off the forking rails if you take a step back, but when you are immersed in the world of the show, they can convince you that all of these thoughts and ideas can be profound and not just troubling.


INFORMATION<\/strong>
Equus is playing at the Theatre Royal Stratford East until Saturday, March 23.
Theatre Royal Stratford East is outside the Westfield mall area of Stratford in East London. You know, the region that is always hella crowded with yoots hanging at the mall. YOOTS. It\u2019s also one of the worst section in London for homelessness, which boggles my mind because I don\u2019t understand how a developed country can allow its citizens to be homeless and just not do shit about it. It\u2019s like government officials were the ones brutally blinded by an unstable teenager! <\/p>\n","protected":false},"excerpt":{"rendered":"

It’s Theatre Tuesday! 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