'Equus' by Peter Shaffer
Directed by Duncan Moore
Barons Court Theatre, July 2005

Review by Claire Simpson

What makes a horse-loving teenage boy suddenly stab six of the animals in the eyes with a metal spike, blinding the creatures? This is the question posed at the start of Peter Shaffer's Equus-a play that, those who are familiar with it know, has very little to do with animal cruelty but is instead an exploration of sexual awakening, overwhelming passion and suppressed emotions-themes effectively drawn out in KDC's intense production.

Following a series of some initially clunky monologues from the troubled boy's psychiatrist, Martin Dysart (Roddy McKerrell), we learn early on of his crime, setting up the audience's curiosity nicely, keeping them sufficiently gripped in order to find out the boy, Alan Strang's (Mark Desebrock) deep-rooted motive. The story unfolds through a series of therapy sessions between the troubled boy and his doctor, with contributions from other key people in Strang's life enabling Dysart to piece together the puzzle that is the inner workings of Strang's mind.

This is all played out within the almost claustrophobic setting of the Baron's Court Theatre, which was decorated in green foliage, complete with the six supporting actors remaining on stage at all times as horses. But we're not talking comedy pantomime horses, here. The actors, wearing minimal black clothing, with help from some classy direction from Duncan Moore, put in subtle and tasteful displays as the animals, verging at times the erotic and eery. The effect thus enabling the audiences to let their imagination transport them successfully to Strang's world.

The star of the show was undoubtedly Desebrock as the disturbed Strang. His ability to flit between apparent lunacy, for example the spontaneous singing of advertising jingles, to raw emotion is a testament to his talent. Despite Strang initially appearing utterly unlikeable, Desebrock successfully gained sympathy from the audience-which without, the play would have been an utterly different piece-with his complex yet sensitive portrayal. His relationship with Dysart was played out beautifully too. The two actors evidently enjoyed an excellent on-stage rapport, which helped to draw out the vital intricacies of their characters' relationship.

The technical unsung heroes also deserve a mention. Effective use of lighting and the atmospheric music, composed and performed by Morag Galloway and Dickie Halliday respectively, contributed to the power yielded by Equus as much as the credible performances and well-judged direction. The overall result was a strong piece of theatre which produced some powerful imagery that should resonate with the audience long after the curtain calls.