A Psychological Horror Story

Equus – Aston Rep Theatre Company

In 1973, British playwright Sir Peter Shaffer heard a report about a horrific crime that took place in the small town of Suffolk. A 17-year-old boy had, without any understandable provocation, blinded a stable full of horses with a metal spike. Shaffer who, prior to writing “Equus,” had authored such popular plays as “The Private Ear” and “The Public Eye,” “Black Comedy” and “The Royal Hunt for the Sun.” He would go on to write a number of other important dramas, including “Amadeus” and “Lettice and Lovage.” However, of all Shaffer’s plays, this psychological horror story remains his most popular and often-produced drama.

Peter Shaffer’s play is a fictional account of what the playwright imagined might have prompted the crime. The drama evolves as a kind of detective story, focusing on Dr. Martin Dysart, an English child psychologist, to whom the boy’s case has been referred by his friend Heather Salomon, the Court Magistrate. Alan Strang at first refuses to answer the doctor’s questions, replying only by singing snatches of popular commercial jingles. Eventually, however, Dr. Dysart is able to get through to Alan, after interviewing the boy’s parents. 

Dora Strang, he learns, is a straight-laced schoolteacher and a devote, puritanical Christian. Ironically Frank, her stern, authoritarian husband, who manages a printing company, is a staunch atheist. His word is law and Frank’s influence over the house is strictly no-nonsense. Frank gives away the family’s television when he thinks young Alan is watching too many mindless programs and commercials. He tears down a graphic  print of Christ being led away to Calvary, that Alan has hung on his bedroom wall. However, in its place, Alan has substituted a picture of a horse that seems to stare down at him with its piercing, accusing eyes.

Although painfully shy, Alan manages snag a job at nearby Dalton Stables, caring for the six horses on weekends. His work is highly regarded by Harry Dalton and he cautiously makes friends with Jill Mason, one of the stable’s full-time employees. Unbeknownst to anyone, Alan sneaks into the stable at night and, removing all his clothing, rides to the top of the hill on his favorite horse, Nugget.

After Alan has worked at the stable for a short time, Jill asks him out. Although neither she nor Alan have ever been there before, she suggests that they go to the adult movie theater to laugh at the Swedish pornographic films. What happens at the cinema and in the hour afterwards is both hilarious and horrific and prompts Alan to commit the gory deed.

In addition to revealing key moments from Alan’s childhood that may have contributed to the gruesome crime that the teenager would commit, Peter Shaffer’s drama also examines Dr. Dysart’s admitted weakness and insecurities. As both the main character and the narrator of the play, Martin Dysart’s self-analysis is a continuous work in progress. Like everyone who works with the public, he learns from his patients. Through working with Alan Strang, the doctor inadvertently unearths some buried secrets about his personal and professional life.

The playwright has intwined a few other key motifs throughout his two-act drama. There are religious themes, particularly in the way Alan constructs his own theology that meshes the strict ecclesiastical teachings of his mother with the boy’s unbridled obsession with horses. Combined with Alan’s personal religious devotion is his sexual attraction to the powerful animals. Alan’s piety is then contrasted with Dr. Dysart’s own passion for classical mythology and the cold, clinical way in which he and his wife relate to each other.

The ubiquitous, very talented director Derek Bertelsen is at the helm of this psychological thriller, guiding what may well be the finest production that Aston Rep has presented in its 11 years. He’s been assisted by intimacy and violence choreographer, Claire Yearman and movement director, Claire Allegra Taylor. Jeremiah Barr has created a sparse scenic design that functions nicely, as well as making the full-head masks that transform the actors into the six horses.

The cast for this production is excellent. Rian Jairell is powerful and commanding as Dr. Dysart. As our tour guide through this grisly tale, Jairell seems comfortable in breaking the fourth wall and speaking eloquently and directly, both to the audience, as well as to each of the other characters. He’s matched by a brilliant performance by young Sean William Kelly, in the role of Alan Strang. As this troubled teenager, theatergoers will marvel at this skilled actor who portrays a deeply troubled and  tortured adolescent. At first, closed off, wracked with shame and guilt, Alan slowly journeys from being a suspicious teenager, trapped inside his self-made psychological prison, to gradually shedding those walls and becoming free again. The psychiatrist’s assistance in helping Alan, however, carries with it a sorrow that in ending the boy’s personal passion, something life-giving will die. Dysart envies that part of Alan.

The rest of the cast is very good. The always wonderful Robert Tobin and veteran actress Julie Partyka are equally terrific and terrifying as Alan’s parents. Alexandra Bennett, who nicely underplays her character, is wonderful as Magistrate, Hesther Salomon. The contrast she provides to Jairell’s high-strung Dr. Dysart is filled with class and very welcome. Malia Hu is strong, articulate and shows a great deal of compassion as Jill Mason. Jordan Pokorney is agile and graceful as Nugget. And Andrew Whatley does a nice job with both Harry Dalton and the Nurse.

This 1975 Tony Award-winning play is from another time. It was the era of Neil Simon comedies, quirky, lighthearted plays, like “The Ritz,” “Same Time, Next Year” and “Butterflies Are Free,” as well as witty, darkly comic mystery plays, like “Sleuth” and “Deathtrap.” Because it was so intensely dramatic,  featured full nudity and depicted a disturbing, true crime, Peter Shaffer’s play stood out as unique. Congratulations to Aston Rep, and particularly to Derek Bertelsen, for reviving this mesmerizing drama and giving it such a respectful, yet innovative production. Veteran theatergoers will remember seeing this thrilling drama, back in the day; younger audiences will be surprised by the story and captivated by the excellent performances, especially by Rian Jairell and Sean William Kelly, an actor we’ll hopefully see in more productions to come.

Highly Recommended

Reviewed by Colin Douglas 

Presented September 27-October 27 by Aston Rep Theatre Company at The Edge Theater, 5451 N. Broadway, Chicago.

Tickets are available in person at the box office, by calling 773-828-9129 or by going to www.astonrep.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.