The X Collective's "Equus": Brisbane Theatre Review
“What use is grief to a horse”? - Dr. Dysart
X Collective's "Equus" at The Holy Trinity Hall in Fortitude Valley is a mesmerising exploration of psychological and emotional connection, disconnection, power and pain. The intimate setting of the church hall is leveraged well (it was built 133 years ago), transforming the space the audience shares with the cast into something quite evocative. This particularly enhances the narrative's religious undercurrents and is a great choice of venue.
Wayne McPhee's direction reflects his expertise in extracting the darkness from the written word. McPhee is well-supported by assistant director Jackson Paul, who also performs as one of the non-verbal horse characters. Both directors have clearly worked intentionally with their cast with a vision to support, not dictate, self-discovery of the characters. As such, each individual performance reminds us that emotional intention can evolve organically, even in moments that feel abstracted from reality. This is a great achievement in our view and this was evidenced particularly in the interactions between Alan Strang (played by Adam Dobson) and his psychiatrist, Dr. Martin Dysart (Greg Scurr). Both performances were exceptional, virtually unblemished.
Every other performer effectively weaves their own ‘life’ around these two pivotal characters, as they each work to navigate the towering and sometimes frightening conceptions of power and control expressed by Alan and Dysart. Every relationship in this play is fluid from one moment to the next, just as playwright Peter Shaffer intends. For these reasons, the psychological unraveling feels both authentic and compelling, maintaining our engagement throughout.
The ensemble cast deliver powerful performances, with notable mentions including Jules Berry as the considerate Magistrate, Stephen Jubber as Alan's father-who-keeps-some-secrets-himself, and Julia Johnson as his mother, a woman of great religious conviction. Their portrayals add depth to the narrative, highlighting the play's exploration of familial and societal influences on individual psyche. Berry's commanding presence adds gravitas to conversations around the legal proceedings, while Jubber and Johnson bring palpable tension and heartbreak to their roles as Alan's conflicted parents.
Showcasing exceptional physical control, Lachlan Boyes effectively portrays another non-verbal horse alongside Paul, wreaking havoc in Alan’s mind. Henry Solomon performs very well as Harry Dalton (Stable Owner) and, earlier in Act 1, as the unnamed Horseman, who Alan later recalls from his memories during a session with the prying Dysart. Finally, but certainly a role of great importance as it is through she that we learn things we otherwise would not know, the trustworthy and seemingly kind Nurse (Caroline Sparrow) supports Dr Dysart in his endeavours to ‘care’ for Alan. Again, all terrific and well-crafted performances.
Supported by Sherri Smith (movement coach) and Michelle Miall (intimacy coach), McPhee’s commitment to physical detail towards both artistic performance and cast safety and comfort is obvious. This is an absolute non-negotiable in a play like Equus, where full adult nudity is briefly but significantly portrayed, as dictated by the playwright himself. This was all handled sensitively, artistically and with great care, for which we commend all involved. Roxanne Gardiner plays Jill Mason who simultaneously seems to fascinate and repulse Alan, and their connection at the height of the play in Act 2 is guttural and visceral. For us, it was Gardiner, Scurr and Johnson who ultimately delivered the most effective vocal performances, inching towards perfection at multiple points.
(Please note, you need to check-in your cameras and phones before being seated for the respectful privacy of cast. It’s not a big deal, so lean into it. All checked-in items are kept perfectly safe and secure by the cloak room team).
The set design by Chancie Jessop not only looks great, it perfectly fits the narrative to give different levels and zones for the performers to physically explore. Bryce Delany's lighting design is skilful and accentuates the space well, including the set and cast, who sit ominously in the background when not performing, staring towards the audience, adding yet another layer to the discomfort this play enlivens. The lighting acceptably shifts to reflect the play's complex moods from the dim, haunting scenes in Alan Strang's mind to the bright, revealing moments in Dr. Dysart's office.
Laraine Griffiths' stage management (including sound and lighting operation) should also be mentioned, as she ensures smooth transitions and maintains the production's flow. The ambient sounds and strategic use of silence amplify the tension and highlight the emotional peaks and troughs of the narrative. This is a great show to go and watch - remember to wear warm clothes since the venue is beautiful and true to its historic construction, and as such can be cool at night in winter.
Show Details:
Venue: The Holy Trinity Hall, Fortitude Valley
Dates: 4 shows only - 7 & 8 June and 14 & 15 June 2024
Times: All shows start at 7.30pm. Doors open at 7pm.
Tickets: From $30. Available through TryBooking.