Review: HotCity Theatre's Production of EQUUS

If you only know about HotCity Theatre because of their dedication to producing new and original works by some of the most talented and unknown playwrights around, then you should also know how adept they are at staging revivals of edgy and provocative modern classics. This season they've chosen Peter Shaffer's taut masterpiece from 1973, Equus. And, they've delivered an intense, disturbing and brilliant production that's powered by sharp direction and exceptional performances.

Martin Dysart is a psychiatrist working at a psychiatric hospital who's asked by a friend and magistrate, Hesther Salomon, to work with a troubled boy named Alan Strang. It seems he's committed the horribly brutal act of blinding six horses, and she believes Dysart may be able to cure him. Dysart reluctantly accepts the case, but it's clear that he's going through a rough patch of his own personally where he's begun to question his own professional merits. When he's finally able to break through to Alan and get him to open up, it comes at the cost of him revealing some unsettling truths about himself. Nevertheless Dysart is able to find the keys that unlock the truth about Strang's obsessive behavior, and he gets him to reenact the events that transpired. Though he may be able to "fix" Alan, Dysart ponders whether that will come at the cost of "cutting out"something precious and unique to him, and that doubt continues to linger long after the stage has gone black.

James Anthony is simply mesmerizing as Martin Dysart, and since the story is really told from his point of view, we get a clear sense of the character's underlying uneasiness as he narrates and comments on the action. Kelley Ryan is also quite good as Hesther Salomon, and she ably conveys the faith Hesther has in Dysart's skills, as well as the genuine concern she has for his personal issues. Drew Pannebecker gives a noteworthy performance as Alan, fully vested in the role, and deftly conveying the emotional angst that he's going through as he comes to grips with his actions. Emily Fisher is also strong as a nurse, and as Jill Mason, the cute young girl who helps Alan get a job at the stable where the incident occurs. It's their mutual attraction, and their clumsy attempt to consummate their relationship that leads Alan to commit the terrible act against the horses he worships like Gods. Steve Isom and Ruth Heyman offer a study in contrasts as Alan's conflicted parents. Brian Jones and Michael Perkins round out the cast in multiple roles, including the horses Alan tends.

Doug Finlayson's direction is nicely conceived and executed, and his cast delivers solidly across the board. John Armstrong's striking and stark scenic design adds to the drama, especially when planks mounted with wire horse head sculptures begin to tilt forward ominously during key moments. Michael Sullivan's lighting scheme and Robin Weatherall's sound design add immeasurably to the dark mood created. Felia Davenport's costumes neatly fit the characters without drawing unnecessary attention.

HotCity Theatre's superbly mounted production of Equus continues through September 25, 2010 at the Kranzberg Arts Center.

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