Equus

Theatre Royal Bath Productions


Laura O'Toole as Jill and Alfie Allen as Alan in Equus
A dark, probing drama exploring mythology, psychiatry and religious devotion, Equus would seem like a very unusual choice for the Scottish theatres it’s visiting were it not for a recent dusting of celebrity sparkle.

"Simon Callow
doesn’t convince
as a man
experiencing
a crisis of faith"

The London revival of Peter Shaffer’s 1973 play generated plenty of column inches, but without Daniel Radcliffe in the lead role this touring production is a very different proposition.
That may be no bad thing – although the Harry Potter star received positive reviews for his portrayal of disturbed teenager Alan Strang, his celebrity status must have proved at least a little distracting. Alfie Allen may have a famous sister, but other than that he’s a relative unknown, and this works in his favour.
From the moment in his first scene when he begins yelling jingles from TV commercials, there’s a real sense of unpredictability about Allen's performance; crucially, it’s always possible to detect a vulnerable young man underneath the fixed gaze and monotone responses.
Simon Callow is Martin Dysart, the psychiatrist experiencing a ‘professional menopause’ while attempting to uncover the truth about the brutal act of violence with which Strang has been charged. It’s a demanding role and while Callow never fails to hold the audience’s attention, he doesn’t convince as a man experiencing a crisis of faith. When he describes his envy of the boy’s passionate obsession with horses, it feels like an intellectual position rather than a genuine emotional response.
The plot itself is the stuff of melodrama – soap opera, even – and as the boy’s religious mother and atheist father, Helen Anderson and Colin Hurley struggle to strike the right tone. The six performers playing horses fare much better. It’s difficult to explain how two-legged actors wearing metal heads can be convincingly equine, but under David Hersey’s clever lighting design they absolutely are.

Shona Craven

Until February 16 2008 at Theatre Royal, Glasgow. Tel: 0870 060 6647.
www.theambassadors.com

Until February 18-23 2008 at King's Theatre, Edinburgh. Tel: 0131 529 6000.
www.eft.co.uk

March 31 - April 5 2008 at His Majesty's Theatre, Aberdeen. Tel: 01224 641122.
www.eft.co.uk

Have you seen this production? Share your views!

Comments

David Hepburn:
"The press criticisms of Callow's portrayal of Martin Dysart are unfair and misguided. It seems that the Glasgow press would have preferred Callow to put his considerable acting sensibilities aside, forego the creation of a Martin Dysart for us and instead just give us the Burton turn we already know from the movie. I assume most of these reviewers have only seen the movie. While Burton's cinematic Dysart was mesmerising and memorable in its own particular way, on closer analysis it rings less true than Callow's. The doubts and inner demons manifested in Callow's portrayal were, for my money, far more consistent with the kind of responses I would expect of a real child psychologist in professional crisis. Not the responses of a man on the verge of breakdown perhaps, but those of a decent, sociable and intelligent man who is genuinely doubting the value of his contribution to the well being of the children in his care. Those responses are just as dramatic and ultimately more tangible. It shows a distinct lack of theatrical understanding to expect an artist of Callow's proven worth to tour the country offering nothing more than a two hour Burton impression."

Shona Craven:
"David, many thanks for your comments. Interestingly, I haven't seen the film, although I am sure many of the other critics have."

What the papers said:

The Herald:
*** "Dysart's inner demons are never fully channelled to Callow's far too chummy and boisterous turn ... When the play becomes truly transcendent, however, it's stunning stuff."

Metro:
**** "[Alfie Allen] turns in a riveting performances. Shaffer's play shows its 1970s roots, overburdened as it is by psychobabble... yet the piece still packs a strong punch."

The Scotsman:
"If the play has a weakness, it lies in this relentless foregrounding of Dysart... and if only the most subtle and searching of performances can make this aspect of the play work well, then that's hardly what it gets from Simon Callow"

Sunday Herald:
**** "Designer John Napier's exquisite metal designs... and Fin Walker's superb movement direction elevate brilliantly sustained performances from Allen and Callow."

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