Two questions:-
1. Who has ridden a horse, bareback, smelt it, felt its muscles and sweat and looked into its large brown eyes?
2. What is “normal”?
Once our relationship with animals was integral to survival and transport and a strong connection with animals was normal. We now all hurtle around in various forms of mechanised metal boxes and cylinders, quite removed from the amazing animals that were once essential to daily life. Now an encounter with a horse, with any beast of burden really, has gone. They are quite exotic for most people and in many cases, objects of fear.
Peter Shaffer wrote EQUUS after reading a newspaper report about a 17 year old boy who blinded six horses with a hoof pick, using it to create a fictional account of what might have caused the incident and along the way explore the opposing forces of rational thought and ecstasy or passion.
Stooged Theatre’s production of this classic 1970’s work, ably directed and designed by Mat Lee, with assistant director Daniel Cotter and co-designer Joel Yager, commences with atmospheric a capella singing/chanting, establishing reverence and ritual before launching into the philosophical musings of Martin Dysart, (an experienced Timothy Blundell) the child psychiatrist and Classic Greek aficionado tasked with restoring Alan to “normal”.
Dysart despairs at his job of “adjusting” troubled young people so they can lead dull, normal lives. When Court Magistrate, Hesther Salomon, (a youthful Linda Read), entreats Dysart to admit Alan into his care and help him deal with his violent acts, the exploration of psyche and passion is as much about Dysart’s as it is Alan’s.
The set subtly and effectively supports the narrative, with rustic timber slats bearing several horses’ heads in a manner that is reminiscent of religious icons. Church pews, Alan’s bed slat and a central square office/stall complete the space with the action moving seamlessly. Elese Murray’s evocative and sensitive lighting design further clarifies the shifts in time, mood and place.
Allan Strang isn’t normal, and Callan Purcell brings a left of centre intensity and focus to the role that rivets us to his journey as we chart his progress to the horror act of blinding six horses. An early encounter with a horse and rider on the beach as a six year old child sparks a connection and fascination that becomes confused with the religious zealotry drummed into him by his fervently religious mother, Dora (Michelle Burnitt).
A stranger’s gesture of kindness, giving the young boy a quick, totally impressive and thrilling ride on “Trojan” is cut short by the outraged fear of his parents, who violently rip Allan off the horse, berate the rider and cart Allan away. Not before, however, the horse has spoken to him, wordlessly informing him that the chain in his mouth hurt.
Dysart has his own rituals and techniques to manipulate Alan’s mind into a regression and we are carried into that exploration of memory, falling into dream like sequences of action with an ensemble of physically beautiful actors bearing mask like horse heads, created by Matina Moutzouriso.
Claire Thomas’ haunting vocals assist with transporting us all into the surreal world of Alan’s passion, evoking the sensuality, physicality and ecstasy of Alan’s encounters with his gods and in particular, Nugget, the chestnut.
Phillip Ross portrays Alan’s printer father, Frank Strang with a prowling, sexual urgency that contrasts with the uptight evangelical fervour of Michelle Burnitt’s Dora. His conservative and absolute denunciation of Dora’s religion, compounded with the sexual overtures of the delightfully engaging gymkhana girl, Jill, (a totally perfect Chloe Perrett) in Alan’s personal temple of worship creates a powder keg of emotions, causing him to maim the very creatures he worships.
This is such a thought provoking play, and while its roots are in the Age of Aquarius era of the 70’s, right down to the compulsory nude scene, the theme of living a life according to the norms of conformity as opposed to a one of passion and ecstasy is timeless. We are left in no doubt as to Peter Shaffer’s ‘view’.
Shaffer’s work also made me reflect on how removed from the animal kingdom contemporary society has become. Once the symbiotic relationship between man and beast was normal; earthy, physical and laden with rituals of equestrian tackle, animal husbandry, care and grooming. Once, a six year old boy being offered a ride on a horse would have been standard.
Normal certainly shifts.
Stooged Theatre continues to produce and present quality shows that provide opportunities for experienced and emerging artists to come together to explore and experiment with the timeless craft of theatre making.
EQUUS is being staged by STOOGED THEATRE at the Civic Playhouse, Hunter St, Newcastle until Saturday March 14. The show contains nudity and sexual themes and is recommended for ages 16 and over.
There are five more opportunities to catch this production- tonight at 8pm, Wednesday March 11 at 8pm, Thursday March 12 at 8pm, Friday March 13 at 8pm, and closing night Saturday March 14 at 8pm.
For more information and bookings visit the website http://www.theatrenewcastle.com.au/theatre/stooged-theatre