Peter Shaffer's Equus is a profound exploration of passion, repression, and existential questions.

It is a modern classic for very good reason.

The recent production at Colchester's Headgate Theatre offered a fresh and deeply affecting interpretation of this iconic play.

Even on opening night, the actors seemed very settled into their characters.

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Directed by Sharon Carter and Toby Roberts, their vision brought a visceral intensity to the stage, supported by remarkable local talent.

The standout performances of George Penny as Alan Strang and Dean Bartholomew as Martin Dysart were riveting.

Bartholomew’s Dysart was a fascinating study of a man grappling with his own suppressed desires and existential dread, while Penny’s Alan radiated raw, unsettling energy.

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The chemistry between the two propelled the play’s exploration of the uneasy interplay between freedom, repression, and societal expectations. 

The play's exploration of the interconnectedness of worship, life, and what gives life meaning was truly thought-provoking.

Alan, though presented as the patient needing to be saved and conditioned for the world, gradually emerges as the "ideal" the doctor himself yearns for, had the world been a different place.

The set and lighting design elevated this production to another level.

Mike Sullivan’s lighting was particularly remarkable, with the climactic red-lit scene leaving a haunting visual imprint.

Combined with Sullivan and David King’s minimalist but evocative set design, the atmosphere perfectly complemented the narrative’s intensity.

The intimate Headgate Theatre setting amplified the play’s emotional impact, immersing the audience in Alan’s fragmented memories and Dysart’s introspection.

Shaffer’s script, which has had many a resurgence since its inception in 1977, inspired by true events, grapples quite cleverly with themes of sexuality, religion, and modernity’s corrosive effect on passion.

This production perfectly captured its emotional complexity with precision.

Particularly in the scene where Alan’s mother, Dora (Clare Allmond), reflects on how parents inevitably pass their flaws onto their children but if they are to be held accountable for every action of the child.

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 The juxtaposition of humour and heartbreak in Alan’s realization that he mirrors his father was masterfully executed, transitioning seamlessly from awkward to funny to profoundly moving.

The existential undertones were powerfully delivered and hit every note as it was meant to- a testament to the directors and the performers.

As the doctor remarks about Alan’s defiance of the norm to find life, “At least I galloped, when did you?” was a direct challenge to the audience.

 As Dysart’s comes back to it and responds at what is the natural resolution of Allan's treatment:

 “You won’t gallop anymore, Alan,” - struck a devastating chord, underscoring the cost of societal conformity. It broke my heart a little. 

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The idea that Alan would never touch Hyde again- symbolic of the loss of passion required to conform to the fast-paced, profit-driven modern world- was such a powerful commentary on humanity's alienation from nature.

This existential theme which was explored throughout the play left a profound impression on my mind.

This Equus was a tour de force—an emotionally resonant and visually striking production.

With its talented cast, thoughtful direction, and inspired technical design, it transformed Shaffer’s existential drama into an unforgettable theatrical experience.

It runs at he Headgate theatre till November 16 and I highly recommend giving it a shot.