REVIEW: Equus

The Abreact

There's no horsing around at The Abreact

By Donald V. Calamia

Last winter, Abreact co-founder Thomas Hoagland returned from New York and re-imagined the musical Sweeney Todd into one of the most talked-about shows of the season. Now, a year later, he's back with yet another rarely-produced classic, Equus - and lovers of passionate, intimate theater are hereby forewarned: Reserve your tickets now, or risk being turned away at the door.

Equus, Peter Shaffer's 1973 exploration of Christianity and sexuality in modern culture, tells the story of a 17-year-old stable boy who is hospitalized after blinding six horses with a metal spike. What would drive the youngster to such extremes, his psychiatrist wonders. And as he peels away the boy's secrets, the doctor arrives at only one conclusion: He can take the boy's madness away, but at what cost?

With a cast of 14 and full nudity that's integral to the plot, it's not surprising that few theaters have staged Equus in recent years. (The show's intensity and occasional bouts of psychobabble are other possible stumbling blocks.)

But The Abreact's new home at the Zeitgeist Gallery and Performance Venue is the perfect spot for it. Unlike the Fisher Theatre where the drama played ages ago, Zeitgeist is a comfortable and intimate space that moves the audience right into the psychiatrist's office. So when Dr. Dysart addresses the audience, he's literally inches away - the result of which is a powerful experience for everyone in the house. (So too is the nudity.)

Almost every aspect of Hoagland's production is well-conceived. The action takes place in a Greek theater or arena, and his use of the tight space is superb. (His traffic patterns are especially impressive when most or all of the 14 actors are on stage.) And the horse masks are both creative and functional.

But it's the careful attention to the emotional beats of the script where Hoagland and his performers excel.

As the show's narrator, Dan Morrison delivers Dysart's lines with clarity, thoughtfulness and authority. Even the occasional streams of snooze-inducing dialogue are well-handled. (Plus, with slicked back hair and the haggard features of a tired professional, he looks the part, as well.)

Riveting and emotion-laden performances are also given by Lisa Melinn (Dora) and Dax Anderson (Frank) who play the boy's parents. You can't help but feel their pain. (It's yet another fine performance by Anderson this season.)

But the success of the show ultimately hinges on the boy - in this case, Alex D. Hill as Alan Strang. He must switch between irrational and rational in a heartbeat, yet always remain sympathetic - despite his horrendous deed.

Hill is more than up to the task.

That's especially obvious in the exceptional second act, as Hill has absolute control over Alan's roller coaster of emotions. The revelatory scene in the porn theater is especially well executed - and funny. (Without saying a word, so too is Sean McGettigan.) But it's the sequence in the barn with Jill, and later with the horses, where Hill's - and the cast's - best work can be seen.

SHOW DETAILS:

The Abreact at the Zeitgeist Gallery and Performance Venue, 2661 Michigan Ave., Detroit. Fri.-Sat., through April 26, plus Sun., April 20. Tickets: $10. For information: 313-247-5270 or www.theabreact.com.

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