NRACT's Cast for Equus Is Terrific, But
Peter Shaffer's Play Is a Rough Ride

WARNING: This review contains SPOILERS.

We want to start this review by saying that as true crime fans, we are generally unfazed by dark themes, violence, and stories that plumb the depths of human depravity. In fact, one of our favorite dark plays is Martin McDonagh's The Pillowman (2003), which contains themes of violence against children, police brutality, and murder in a dystopian police state. However, while The Pillowman deftly uses its shock value to shed light on bigger concepts in a riveting whodunit, Peter Shaffer's Equus merely shocks just for the sake of shocking. The play -- running now through Sunday, May 7th, at North Raleigh Arts and Creative Theatre, under the direction of Sean A. Brosnahan -- aims to be edgy and profound, with its adult themes and by advocating for unfettered acceptance of sexuality, regardless of cost; but we found it to be unsatisfying and self-indulgent. We were surprised to learn later that the play won the Tony Award² for Best Play when it made its Broadway debut in 1974.

Equus, which was written by Peter Shaffer and premiered in London's West End in 1973, tells the story of child psychiatrist Dr. Martin Dysart (played at NRACT by Simon Kaplan) and his troubled 17-year-old patient Alan Strang (portrayed by Aaron Tyler Boles), who has blinded a stable full of horses under his care with a sharp pick. As psychiatrist and patient begin therapy sessions and start to trust one another, we learn that Dysart feels that his life is boring, unadventurous, and his marriage a platonic disappointment. Dysart also has recurring dreams where he is cutting parts out of children.

Equus stars Simon Kaplan as Dr. Martin Dysart (photo by Sean A. Brosnahan)

As for Strang, we learn that since first riding at age six, he has loved, religiously worshipped, and harbored strong sexual fantasies about horses, going so far as placing a makeshift bridle bit in his own mouth and whipping himself in violent self-pleasure. When Strang gets a job as a stable boy, one can image the consequences.

Dark and disturbing plays that plunge an audience beneath the surface have to provide meaning and message to their abhorrent premise, and then bring audiences safely back to the surface. Equus simply does not do this. Instead, the playwright starts with strong sexual innuendo, dives headlong into the twisted mind of Strang, and then leaves the audience at the end with no relief. Yes, Peter Shaffer brings in the regular tropes to tell Strang's backstory -- an overbearing, hypocritical father, a pious and religious zealot mother, and even a willing farmgirl who is the unknowing catalyst for the sad ending to the story. However, we don't think that Shaffer believes that any of these things matter, because instead of a deep exploration of society, religion, parenthood, or sexuality even, at the end of the final act, the playwright merely has Dysart explain to the audience via epilogue that he is ultimately jealous of Strang, that he admires him, because at least Strang has had passion in his life.

Dysart believes that with his treatment, Dysart is ruining Strang by helping him find a "normal" but passionless life (ah, yes, the cutting of the children dream). Dysart (the playwright?) only wishes that society would embrace people who are different, so there would be no need to conform and be "normal." In a play riddled with adult themes, violence, and some full-frontal nudity, it was the playwright's own conclusions about accepting Strang as he is that were the most shocking of all. We can all embrace individuality, but certainly not sexuality at the expense of innocents.

Aaron Tyler Boles stars as Alan Strang in Equus (photo by Sean A. Brosnahan)

Perhaps this play, which was written by Shaffer 50 year ago, was an attempt to raise awareness about homosexuality, which in that time period was not as accepted as it is today. In our opinion, the playwright does no favors for the homosexual community by drawing parallels between homosexuality and bestiality, bondage, violence, and whipping. We feel that the attempt to be novel and shocking overshadowed an opportunity for enlightenment.

Soapbox aside, these criticisms are aimed squarely at the playwright, not the theater or the troupe. On to the good and the great about this production.

The cast was terrific. The play is set in Southern England; and all of the actors maintained perfect English accents (thank you, dialect coach Rebecca Bossen). Simon Kaplan was superb as Dysart; and Aaron Tyler Boles' Strang held his own, with the seasoned actor, even in the buff. Boles was just the right mixture of defiant and needy to embody Strang. Also, we would like to give a nod to Christine Rogers as Dora Strang. Her Dora hit just the right note as a strong, loving mother, seeking answers about her troubled lad.

Jean Higgins Jamison stars as Hester Salomon (photo by Sean A. Brosnahan)

Finally, we must applaud the costume designer Lisa Flores-Wolfert. During the show, the horses in Strang's dreams and life were portrayed by the principal actors who donned horsehead masks. While many productions of this show have used either literal horsehead masks or simple wire frames shaped like horses, Flores-Wolfert's horseheads -- all leather, studs, and chains -- were more sexual bondage masks than horseheads, which fit perfectly into the tone and sexual psyche of the main character.

Chix's-Pix: NRACT. We truly love North Raleigh Arts and Creative Theatre productions, and we are always keen to see what they will be producing. We applaud them for taking risks and pushing boundaries. That is what art and theater are for.

Griffin James plays Nugget/Horseman in Equus (photo by Sean A. Brosnahan)

Peter Shaffer's EQUUS (In Person at 8 p.m. Friday and Saturday and 3 p.m. Sunday, April 28-30 and May 5-7), directed by Sean A. Brosnahan and starring Simon Kaplan as Dr. Martin Dysart, Aaron Tyler Boles as Alan Strang, Christine Rogers as Dora Strang, Kevin Varner as Frank Strang, Jean Higgins Jamison as Hester Salomon, Bridget Patterson as Jill Mason, Keith Kenel as Harry Dalton, Griffin James as Nugget/Horseman, and Miranda Curtis as Nurse (North Raleigh Arts and Creative Theatre in Raleigh). THE PRESENTER/VENUE: https://www.nract.org/, http://www.facebook.com/NRACT, http://instagram.com/nract_raleigh, https://twitter.com/NRACT_raleigh, and https://www.youtube.com/channel/UC2ifc8evvO-kGDgGFXq3Fww. 2023-24 SEASON: https://www.nract.org/shows. DIRECTIONS: https://www.google.com/maps/. ACCESSIBILITY: https://www.nract.org/accessibility. COVID REQUIREMENTS: http://www.nract.org/news-events. EQUUS (1973 West End and 1974 Broadway): https://www.concordtheatricals.com/s/2822/equus, https://www.ibdb.com/broadway-show/equus-3358, https://www.britannica.com/topic/Equus-play-by-Shaffer, and https://en.wikipedia.org/wiki/Equus_(play). THE SCRIPT (excerpts): https://books.google.com/books. PETER SHAFFER (English dramatist, screenwriter, and novelist, nee Peter Levin Shaffer, 1926-2016): https://literature.britishcouncil.org/writer/peter-shaffer, https://www.ibdb.com/broadway-cast-staff/peter-shaffer-8127, https://www.imdb.com/name/nm0787323/, https://www.britannica.com/biography/Peter-Shaffer, and https://en.wikipedia.org/wiki/Peter_Shaffer. TICKETS: $22 ($20 students and teachers, seniors, and active-duty military personnel), plus taxes and fees. Click here to buy tickets. INFORMATION: 919-866-0228 or ops@nract.com. PLEASE DONATE TO: North Raleigh Arts and Creative Theatre.

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