‘Equus’ Haunts Constellation Theater

I’ll start by saying that this was K Street Magazine’s first invitation to Constellation Theater Company, and we found it to be just what the DC theater scene needed: an intimate space for daring and experimental theater. Constellation’s rougher, elbowy savant is a welcome addition to DC’s polished theater buffet.  The company promises “visual spectacle, music and movement,” and they delivered, no small accomplishment with Peter Shaffer’s sensual, talky Equus (1973).

Next, I’ll preface that having played the role of magistrate Hester Solomon (here played far more engagingly by Kathleen Akerly) in a high school production of Equus (what can I say – our theater director was ambitious – we also did The Tempest kabuki style), I was most curious to see the frankly disturbing play again as an adult. Constellation’s portrayal did not disappoint.

The story opens raw – a boy has stabbed out the eyes of six horses, and a sympathetic magistrate begs child psychiatrist Martin Dysart (Michael Kramer) to take on the case. It doesn’t get much gentler. Through Martin’s eyes, we slowly untether the story from an alternately fragile and frenetic Alan Strang (Ross Destiche), until the splintering climax leaves the viewer feeling as naked as the actors onstage. As stable girl Jill Mason (played with pitch perfection by standout Emily Kester) says to Alan, “You can see yourself in the reflection of a horse’s eyes.”

The scenic effects are haunting. The elegantly simple Tudor barn set is dim yet warm. The alley stage bisects the audience, embracing performers and observers within its ethereal lighting (A.J. Guban) and brooding sound effects (Palmer Hefferan). The experience feels dreamlike; the audience’s trance replicating Strang’s onstage hypnosis and abreaction. Particularly mesmerizing are the Horse Ensemble: Tori Bertocci, Gwen Grastorf, Ashley Ivey, Ryan Alan Jones, Emily Whitworth, and Ryan Tumulty. Erik Teague’s magnificent horseheads, all eyes, luminously lit, are beautifully choreographed by Mark Jaster, hooves clicking as they sinuously weave through the story. Observing their majesty, one can comprehend why Alan worships Equus as his God.

The faults with the production are not with the company so much as the play. Shaffer’s tropes have become unoriginal in the half century since Equus’ radical debut. The jaded psychiatrist in “professional menopause,” struggling to heal pain without crushing passion, all while wrestling his own demons, feels tired and familiar. And, perhaps not justified in the character of Alan. Still, the questions of whether “normal” leads to emptiness, and if suffering is a worthy price for its companion, ardor, resonate today. Equus is not for those seeking light entertainment. If you want to be scooped up and swallowed whole by a story unafraid to walk on jagged glass, this is the show for you.

Equus is playing at Constellation Theatre at Source (1835 14th Street, NW Washington, DC 20009) from Jan. 13 through Feb. 14, 2016 (Thursdays-Sundays). Running time: 1 hour and 45 minutes with one fifteen minute intermission. For more information or tickets call 202-204-7741 or click here.

Advisory: play contains full frontal nudity. Recommended for ages 16 plus.

Photo credit: DJ Corey Photography.