Tag Archives: Peter Shaffer

“Equus” at the Theatre Royal Stratford East

The last London outing of Peter Shaffer’s 1973 play boasted exciting star casting. But even the presence of Daniel Radcliffe, who did a great job playing the stable hand Alan who blinds the horses in his care, didn’t quite distract from the dated manner of this psychodrama. Equus can be a laboured whydunit, as the aloof Dr Dysart lags behind the audience in reconstructing events and struggles to provide an explanation for an all-too-symbolic outrage.

In this new production, director Ned Bennett gallops over many flaws, adding a physicality that balances the theorising monologues. Meanwhile, the lighting and sound design, from Jessica Hung Han Yun and Giles Thomas respectively, add psychedelic flashes of light and bursts of sound to great effect. With a strong cast, dashing on and off stage with unnerving speed, the piece is served superbly – this is one of the best revivals you’ll see in a long time.

The play’s problems are still there, of course. A contemporary audience is probably too used to tracing trauma – and too familiar with psychobabble – to find such a quest revelatory. But Bennett manages to make it exciting. The clever move is to focus on the doctor, played superbly by Zubin Varla, as much as the patient, and to make the philhellenic clinician’s dissatisfaction with his own life a source of questions. With increasing distress, Dysart sees his treatment will deprive Alan of a life-enhancing passion – the key word is worship – which is a challenging proposition, given Alan’s actions. Varla provides convincing fervour, and plumbing Shaffer’s text to bring out the theme works well.

The production flirts with a period setting, sometimes to its detriment. Georgia Lowe’s minimal design of clinical curtains is used to great effect, but the costumes, as a nod to the 1970s, are confusing. And too little is done about the female roles. Norah Lopez Holden, who plays Alan’s love interest, feels so contemporary she could come from another play. While Alan’s mother is in 1950s mode with Syreeta Kumar’s oddly wooden depiction.

Ira Mandela Siobhan and Ehtan Kai

The cast is superb though when it comes to doubling up as the horses, led in this endeavour by Ira Mandela Siobhan. Avoiding fancy puppetry emphasises the sensual to an almost risqué level – the show is confrontationally sexy. For a final exciting element, there’s the performance of Ethan Kai as Alan. Theatregoers love a career-defining role and this surely counts as one. As well as creating sympathy for the character – no easy leap – he also makes Alan scary. Presenting a young man so dangerously unaware of his own strength, Kai allows Alan to stand as an individual rather than an object in Shaffer’s intellectual game – and all benefit as a result.  

Until 23 March 2019

www.stratfordeast.com

Photo by The Other Richard

“Amadeus” at the National Theatre

One of several artistic greats to die in 2016, Peter Shaffer’s association with the National Theatre serves as a reminder of the institution’s nurturing role. Away from the West End, the playwright’s vision, creating ambitious works filled with myth and history, flourished. Returning to the Olivier stage for the first time since a legendary premiere in 1979, this new production of one of his best works, directed by Michael Longhurst, has the energy and originality to qualify as a fitting tribute.

There are plenty of big ideas to be voiced, about art and religion, arising from court composer Antonio Salieri’s battle against the God-given genius of Wolfgang Amadeus Mozart. Longhurst’s particular skill is to make sure the play’s entertainment value is clearly heard: balancing the drama and humour. Music too, obviously, and also movement, both coming from the onstage presence of the Southbank Sinfonia. The 21 musicians’ interaction with the cast forms a commentary that is visual as well as auditory.

Adam Gillen as Wolfgang Amadeus Mozart
Adam Gillen as Wolfgang Amadeus Mozart

Excellent smaller roles provide a lot of laughs: praise for Tom Edden and Hugh Sachs as, respectively, the emperor Joseph II and the imperious head of the Viennese Opera. But most of the fun comes from an exuberant performance by Adam Gillen in the title role. Joined by Karla Crome as his wife Constanze, who also gives a powerful performance, Gillen has charisma and a clear connection with the audience. Mozart is presented as a spoilt rock star, complete with “vulgar” clothes including pink Dr Marten boots – just one element of Chloe Lamford’s excellent design. This Amadeus is so exaggerated he occasionally irritates, but the portrayal is consistent and makes sense.

If Gillen tips the balance of sympathies from Amadeus to the real lead of Salieri, well, those scales are weighted from the start, affording Lucian Msamati star status. From the opening scene, where he invokes a future audience and the lights in the auditorium rise, he commands attention. A deadpan tone shows comic skills while the awe and grief felt at Mozart’s achievements are convincingly passionate. Msamati has a clear control of Shaffer’s themes and plays them perfectly. Salieri may claim to be the patron saint of mediocrity, but Msamati’s performance is the antonym of that.

Until 18 March 2017

www.nationaltheatre.org.uk

Photos by Marc Brenner