Dramaworks presents visually striking ‘Equus’
Strong performances, a haunting atmosphere mesh seamlessly.
Child psychiatrist Martin Dysart doubts the value of his life’s work and is haunted by a growing awareness of his passionless existence. His teenaged patient, Alan Strang, is tortured by an obsession that led him to commit a heinous crime.
When the two come together in Palm Beach Dramaworks’ production of Peter Shaffer’s “Equus,” it’s like a supernova explosion.
Director J. Bar ry Lewis shapes a visually striking tale that’s almost mythical at its heart and merciless in its intensity. Peter Simon Hilton as Martin and Steven Mai er as Alan deliver electric performance sin challenging roles that demand soul- baring immersion .( Maier and Mallory New bro ugh, who plays Jill, the siren who befriends Alan, bare flesh as well.)
In the story, Martin’s friend, Hester, a magistrate involved with Alan’s case, asks Martin to treat Alan after Alan inexplicably blinds five horses.
Bit by bit, Martin exposes the religious and sexual conflicts Alan has transmuted into a secret worship of horses. He can rid Alan of his obsession — but at what price? As he tells Hester, at least Alan has experienced untrammeled passion, a state Martin deeply envies and fears society is bereft of.
The show is imbued with an otherworldly mystery, intensified by its stylized delivery on a nearly empty stage. The horses, fearsome archety pesin Alan’s private myth, are played by actors wearing tight-fitting black costumes, masks and elevated footwear that clangs like hooves.
Steve Shapiro’s sound design and Kirk Bookman’s lighting
heighten the drama. An ominous chorus of voices mixed with electronic sounds in key scenes recalls Alfred Hitchcock’s “Psycho.” Stark lighting sharpens the characters’ anguish and the awe of the ecstatic moments when Alan interacts with the horses.
John Leonard Thompson and Julie Rowe are superb as Alan’s uncomprehending parents. Anne-Marie Cusson as Hester brings a welcome note of cool pragmatism to the supercharged tale. Domenic Servido radiates power as the horse that demands Alan’s worship.
Although nearly 44 years have passed since “Equus” debuted on Broadway, in Dramaworks’ beautifully crafted production it retains its power to shock and perhaps compel consideration of the trade-off between passion and order.