Religion, Sex and Horses
“I will make him normal. And the pain will be gone. And with it, the passion.”
Martin Dysart
Peter Shaffer’s searing play has opened at the Menier Chocolate Factory. Shaffer began writing the outline in 1970–1971, drawing loosely on the true story of a teenager who blinded horses. From this, the audience believes they know what to expect, yet such is the skill of Shaffer’s writing that the story remains as fresh today as when it was first staged.
With this story line directors have long faced the challenge of how to portray the six horses. Lindsay Posner, Director, working with set and costume designer Paul Farnsworth, has created something both effective and visually interesting. Some productions have used masks and hooves, but these have been abandoned here. As the play begins, we see six chairs at the back of the black stage, five occupied by men in dark-toned body dyes. They are the horses. Their movement, directed by James Cousins, conveys their reactions as the events are retold; they move together, almost like ballet dancers as a string of horses.
The stage and floor are black, and four benches transform into whatever is needed: a bed, a chair, or other settings. The audience sits on three sides and can see everything. There is a feeling of openness; the rooms and stables are there; imagination is not strained. There are no distractions from power of the text.
The play opens with Heather Salmon (Amanda Abbington), a magistrate, persuading a “worn out, past his prime psychiatrist” Martin Dysart (Toby Stephens) to take on the task of unlocking the mind of Alan Strang (Noah Valentine), who has blinded six horses, but will only speak by shouting the words from TV adverts.
From there, a battle of wills unfolds as Dysart tries to uncover Alan’s past by any means he can: a childhood shaped by an aggressive father, Frank (Colin Mace), and a deeply religious mother, Dora (Emma Cunliffe). It is suggested that these opposing views have created in Alan instability and his horrifying actions in hurting these beautiful animals.
Alan finds release and solitude working at a local stables, where he meets stable hand, Jill Mason (Bella Aubin). His hormones clash with his upbringing. He claims he does not ride, yet his favourite horse, Nugget (Ed Mitchell), is mysteriously ridden every night. Equus are the horses and Alan worships them. The quandary here for Dysart is what reflections in treating Strang are impacting on his own life and marriage.
At this point, I pause the narrative. If you are interested, go and see the play. If you have seen Equus before, you will find little to complain about in this interpretation. There are fine performances from Toby Stephens as the psychiatrist conflicted with “curing” Alan Strang and destroying the remarkable passion and creativity the boy is gripped by. Noah Valentine steps into this challenging role of Alan Strang, memorably played by Daniel Radcliffe in 2007 and by Ethan Kai in 2019. Valentine’s performance incorporates the lonely, only child wanting to believe in something and his homoerotic desires when riding Nugget.
If this is your first encounter with Equus, it will be hard to forget. It is a strongly recommended production.
Production Notes
Equus
Written by Peter Shaffer
Directed by Lindsay Posner
Cast
Starring:
David Rubin
Amanda Abbington
Colin Mace
Emma Cunniffe
Paula James
Toby Stephens
Moses Ward
Zach Parkin
Aristide Lyons
Ed Mitchell
Bella Aubin
Noah Valentine
Luke Hodkinson
Tommi Sutton
Creatives
Director: Lindsay Posner
Designer: Paul Farnsworth
Movement: James Cousins
Lighting Designer: Paul Pyant
Fight Director: Bret Yount
Sound Director: Adam Cork
Information
Running Time: Two hour 45 minutes including the interval
Booking to 4th July 2026
Theatre:
Menier Chocolate Factory
4 O’Meara Street
London SE1 1TE
020 7378 1713
Tube: London Bridge
Reviewed by Malcolm Beckett
at the Chocolate Factory
on 19th May 2026