Ned Bennett’s minimalist and thoughtful production of Equus is by turns thrilling and dull, sensationally staging the sexual and violent aspects of the story while confining the psychiatrist’s self-doubting soliloquy within drapes of blank white sheeting.
Ned Bennett’s direction is another star of the show; the relationship between Ira Mandela Siobhan as Nugget, a Chestnut horse who has a close relationship with Strang, is stunning.
How many different ways can one play be interpreted? The company of Equus were very keen not to impose their opinions but the audience at last night’s post-show Q&A at Trafalgar Studios had plenty of their own. Which were right? All of them! And what a knowledgeable audience it was. Many had seen this or other previous […]
Touching on themes of religion, sexuality and more than one form of mental illness, the play asks some difficult questions and frequently makes for unsettling viewing, and yet Ned Bennett’s production remains utterly compelling from start to dramatic finish.
Equus remains a fascinating, if dated, piece of writing from Peter Schaffer, exploring the psycho-sexual complexities of the adolescent Alan Strang, a boy who has just, horrifically, blinded six horses.
Ned Bennett has created an entirely compelling evening, which reveals new layers to Peter Shaffer’s play Equus that we can now only see because we have changed as a society since it was first performed – a sure sign of a classic.
Ned Bennett’s production of Equus for the English Touring Theatre and Theatre Royal Stratford East has transferred to the Trafalgar Studios – but what do critics think of it?
As part of her ongoing post-show Q&A series, on Tuesday 23 July 2019, Mates co-founder Terri Paddock is at the West End’s Trafalgar Studios for the acclaimed new production of Peter Shaffer classic Equus, transferred from the Theatre Royal Stratford East. Got any questions?
Award-winning director Ned Bennett’s bold revival of Peter Shaffer’s iconic psychological thriller Equus is transferring to the West End this summer. Following its successful run, the English Touring Theatre and Theatre Royal Stratford East production will open at London’s Trafalgar Studios on 6 July 2019 for a strictly limited season until 7 September.
Arousing and disturbing in equal measures, English Touring Theatre’s production of Equus stirs the senses as much as engages the brain.
Actress Ruth Lass spoke to Love London Love Culture about her current role in the touring production of Equus.
This is a brilliant revival of the 1970s classic Equus, about pagan worship and repressed sexuality, which buzzes with an imaginative physicality.
This is a marvellous production of Equus at Theatre Royal Stratford East, a play that could easily come across dated. Ned Bennett once again excels at peeling back the layers of deeply troubled characters.
Paul Roseby, artistic director and chief executive of the National Youth Theatre of Great Britain (NYT) has today announced the company’s summer and autumn programme for 2018, including its season in the West End.
In all of the hot air, there’s been lately about the 25 greatest plays since Angels in America, I cannot argue against the decision to include An Octoroon high on the list.
An Octoroon at the Dorfman Theatre at the National remains as incendiary as the day I first saw it. In fact, it has grown in magnificence.
When it comes to looking at racism and what it is to be black, we are currently in a phase of importing US stories rather than encouraging and platform black British writers.
Artistic director of Theatre Royal Stratford East, Nadia Fall, has today announced her inaugural season, beginning this September.
It is a huge credit to Josh Azouz that he has managed to wield and weave such fundamental truths about contemporary society into a play so damn surreal. Credit to him. And credit to the actors and all the creatives. This is one hell of a show.
Although the temptation might be to dismiss Buggy Baby as an oddity, that would be a mistake. Both the originality of the writing, its rapidity, its mix of the mundane and the surreal, and the explosive excitement of the staging suggest a fertile way forward for British new writing.
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