Tag Archives: Joseph Langdon

Equus

EQUUS

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Trafalgar Studios

Equus

Equus

Trafalgar Studios

Reviewed – 15th July 2019

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β€œto praise each element of Equus individually is unfair, because it is the tandem of these parts that makes the production truly divine.”

 

It isn’t uncommon to see a play emotionally move an audience – to make them feel the pathos or joy that the characters are experiencing. However, I could count on one hand the number of times I’ve seen theatre physically move an audience – to make them lean forward, gasp, and let their jaws hang for extended periods of time. It’s a testament to the power of Equus, then, that the audience member sat next to me – along with many others – barely seemed to even be in their seat, so moved were they by the ferocious and sinewy stallion of a play that was taking place.

Equus centres on Alan Strang (Ethan Kai), a seventeen-year-old boy who blinded six horses over the course of one night. It rests with psychiatrist Martin Dysart (Zubin Varla) to uncover the motivation behind the crime, although in doing so he is also forced to interrogate his own beliefs on religion, passion, and purpose. The story is framed chiefly around this patient-doctor dynamic, although a host of other characters are implicated in Martin’s analysis, including Alan’s parents Dora (Doreene Blackstock) and Frank (Robert Fitch), forming a claustrophobic and tense psychological drama. But the true genius of Peter Shaffer’s writing (also of Amadeus fame) is that this paradigm is only one of the levels on which Equus operates; bubbling under the scientific surface is a much more non-secular interrogation of the social and cultural values that cultivated the environment in which Alan could be compelled to carry out such acts as he did. Shaffer’s rhetoric can be transcendentally poetic, weaving metaphor upon metaphor into a textured tapestry that cuts to the very core of what it means to be alive.

The writing never strays into the territory of being overly-ruminative though. Ned Bennet’s visceral and kinetic direction ensures that the intellectual complexities of the play are being constantly physicalised and theatricalised, with the help of Shelley Maxwell’s inventive and raw movement direction; Alan’s bed being used as a trampoline on which he is brutally flung around under a vicious strobe light, for example, serves to manifest the emotional realities of the character. This is heightened tenfold by the soul-searing strings of the sound design (Giles Thomas), the unnerving, subliminal lighting (Jessica Hung Han Yun), and the slick and stripped back set design (Georgia Lowe). The performances, too, are roundly sublime – Varla especially is revelatory, fully owning the hefty language of his many monologues, immaculately delivering the thematic nuance of the speeches with drive and agency. Credit must also go to the transportive ensemble and animal work, as many of the cast also embody horses during the play, particularly Ira Mandela Siobhan as Nugget.

However, to praise each element of Equus individually is unfair, because it is the tandem of these parts that makes the production truly divine. The quality of the writing exacerbates the direction, which exacerbates the performances, which exacerbates the design, and so on ad infinitum. It constructs a whole reactor of impeccably crafted atoms, all meteorically colliding with each other in a seamless symbiosis that creates the nuclear level of theatrical and spiritual energy that is transferred to the audience and galvanises them to move. Equus is utterly celestial.

 

Reviewed by Tom Francis

Photography by The Other Richard

 

Equus

Trafalgar Studios until 7th September

 

Last ten shows reviewed at this venue:
A Guide for the Homesick | β˜…β˜…β˜… | October 2018
Hot Gay Time Machine | β˜…β˜…β˜…β˜…β˜… | November 2018
Coming Clean | β˜…β˜…β˜…β˜… | January 2019
Black Is The Color Of My Voice | β˜…β˜…β˜… | February 2019
Soul Sessions | β˜…β˜…β˜…β˜… | February 2019
A Hundred Words For Snow | β˜…β˜…β˜…β˜…β˜… | March 2019
Admissions | β˜…β˜…β˜… | March 2019
Scary Bikers | β˜…β˜…β˜…β˜… | April 2019
Vincent River | β˜…β˜…β˜…β˜… | May 2019
Dark Sublime | β˜…β˜…β˜… | June 2019

 

Click here to see more of our latest reviews on thespyinthestalls.com

 

Harper Regan
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Tabard Theatre

Harper Regan

Harper Regan

Tabard Theatre

Reviewed – 22nd May 2019

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“these actors ensure Stephens’ wordy script continues to punch above its weight”

 

Simon Stephens is one of the great contemporary British playwrights. By no stretch his best play, β€˜Harper Regan’ remains a timely and touching work fully deserving of a revival eleven years after it first premiered at the National Theatre. Presented by Contentment Productions, set up to redress the balance towards 50:50 equal representation for female actors, and directed by Pollyanna Newcombe, this is a powerful female-led production that moves as much as it shocks.

Harper (Emmy Happisburgh) is on a journey to see her dying father one last time before he passes away. Abandoning her husband (Cameron Robertson), daughter (Bea Watson) and day job (under Philip Gill’s creepy manager), she flies from Uxbridge to Stockport, meeting 17-year-old Tobias (Joseph Langdon), drunken flirt Mickey Nestor (Marcus McManus) and her disappointed mother (Alma Reising) along the way. Harper’s is a story of renewal, self-discovery, and the power of the painful truth.

Leading the charge in practically every scene, Happisburgh is mesmerising as Harper, imbuing the character with a hint of Northern edge and dash of vulnerability in equal measure. Her energy and presence are matched by a strong ensemble, but McManus’ leering Mickey stands out as a compelling mix of Ryan Gosling and that creepy guy sat in the corner of Wetherspoons whistling at women (NB: maybe this is only something I’ve experienced…). Newcombe’s direction places emphasis on the relationships and conflicts between characters, and these are well handled by the cast. For me, Stephens script needs a bit of a trim, and the actors should feel free to roam a bit more – this production felt very still. That said, these actors ensure Stephens’ wordy script continues to punch above its weight.

The contemporary set of gauze flats and well-chosen location indicators keeps the production design simple but effective, and allows for some cool lighting transitions. Scene changes are expertly choreographed and often come as a gasp-inducing shock to the Tabard audience. Why can’t all scene changes in theatre be as interesting to watch as these?

A punchy drama of redemption, β€˜Harper Regan’ is a real Northern Powerhouse of a play, and this is astounding work from a cast that will only get better as the run continues and they learn to sit more comfortably in their intriguing and nuanced characters.

 

Reviewed by Joseph Prestwich

Photography by Rob Youngson

 


Harper Regan

Tabard Theatre until 1st June

 

Previously reviewed at this venue:
The Lady With a Dog | β˜…β˜…β˜…β˜… | March 2018
Sophie, Ben, and Other Problems | β˜…β˜…β˜…β˜… | April 2018
Sirens of the Silver Screen | β˜…β˜…β˜… | June 2018
Sexy Laundry | β˜…β˜…β˜… | November 2018
Carl’s Story | β˜…β˜…β˜…β˜… | March 2019

 

Click here to see more of our latest reviews on thespyinthestalls.com