Review: Onstage Magnetism of Outstanding Duo in EQUUS at Theatre On The Bay

Expertly dark and inescapably sensual, EQUUS combines various elements of theatrical mastery that make this 2019 production a success for Pieter Toerien Productions.

Inspired by a true event, Peter Shaffer's EQUUS invites audiences to sit in on Alan Strang's psychological appointments after the teenager violently attacks six horses. Psychologically, religiously and sexually perverse, Alan's problematic relationship with horses is dissected by Dr. Martin Dysart who is jumping through his own torments.

EQUUS opens on one of psychologist Dysart's many monologues. Portrayed by well-known thespian Graham Hopkins, one is immediately transported not only into his office but also into his mind by the experienced actor through his openness and ease on stage. While Dysart's introspective speeches sometimes get lost on late night audiences, Hopkins' effortless delivery never feels over-rehearsed or under-performed.

The same can be said for his patient counterpart. It's no secret Sven Ruygrok has been a young actor to watch since the early 2010s. In the lead role of tormented teenager Alan, Ruygrok beyond excels. He portrays Alan with an irking stiffness plus undertone of adolescent annoyance where the slightest movement adds layers to his character. The sheer physical, mental and emotive strain this actor goes through each night is commendable in its own right; but the fact that he brings a constant energy throughout the 2 hour production is nothing short of West End professionalism. Bravo to director Fred Abrahamse clearly working closely with both actors to create the perfect match of lead roles.

With such strong leads, the supporting cast can at times be forgiven for swallowed words or less-than-potent projection. Having last seen Cassandra-Tendai Mapanda in RICHARD III, the young actress has a mature knack to her that has her smoothly playing off older characters like wise yet amicable magistrate Hesther. Alan's parents Frank and Dora - Andrew Roux and Maggie Gericke - are the perfect snippets of 1930s marital "bliss"; where the harsher and almost aloof Roux plays well off delicate Gericke. Gericke sometimes gets carried away with her accent, however, and patrons were noting in her second half monologue that some words could not be understood.

In contrast, teenage love interest Jill acted by Monique Basson comes across strongly as South African. The play comes to a critical climax that encompasses majority of the second half. It's a pity therefore that the tension is somewhat dispelled by Basson's flailing British accent and awkward onstage presence. Perhaps this is a characterization choice, but as a pivotal player in Alan's story, one expects her charisma to take more charge during scenes. Ruygrok, in his interactions with her, continues to steal the spotlight.

The main horse in EQUUS is exquisitely done by Len-Barry Simons. Donning black leggings, hoof-like heels, dominatrix-esque bralette and elaborate head piece, Simons smoothly and sensually moves his toned body in such a way that really allows the audience to believably fall into Alan's equine fascination. Marc Goldberg's movement is also to thank for this, as his elegant ballet experience is evident. Lastly, special mention to a minimal set, emotive lighting and eerie background music do well to add to a daunting sense of action.

The subject matter of EQUUS is no doubt not for everyone. The play leaves one with a strong sense of discomfort that not only haunts but indisputably captivates throughout and thereafter this powerful production.

Photo credit: Jesse Kramer

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EQUUS will be performed at Theatre on the Bay until 20 April, and at Pieter Toerien's Montecasino Theatre from 26 April to 26 May 2019. Ticket prices range from R100 to R240 and can be booked via Computicket or (021) 438-3300 (Cape Town)/(011) 511 1818 (Johannesburg).

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