06 Apr, 2007 (Friday) London, West End
Equus
0135 (London Time) 07 Jan, 2007
Where? Gielgud Theatre - Shaftesbury Avenue, London, UK
How much? Ticket prices from £19.50 - £49.50
It was Megan who suggested that we see Equus, one of the West End's newest plays. She wasn't exactly shy in admitting that her primary motivation wasn't so much artistic indulgence as the opportunity to "see Harry Potter's bits" (with accompanying finger motions). For myself, my interest was somewhat more pure (seeing Harry in the buff isn't really that appealing), the play having received significant acclaim since it's opening last month.
First released in 1973, Equus (by playwright Peter Shaffer) is the story of a troubled boy, Alan Strang (Harry Potter's - Daniel Radcliffe), who is sent to counseling after he blinds a stable of horses. Resentful and aggressive, Alan nevertheless begins to respond to the treatment of Dr Dysart (the portly Richard Griffiths), reliving his experience from early childhood to the terrible incident. The journey through Alan's psyche is dark and warped, a series of increasingly emotional and violent episodes.
The play is powerful, well directed and amazingly crafted. All of the main actors manage their parts with depth and humanity, from the brooding yet fundamental innocence of Radcliffe's Alan Strang, to the professional yet self-questioning Dysart, to the willful flightiness of seductress Jill (Joanna Christie). Radcliffe has real presence, a distinctly different creature from his film alter ego, the bespectacled magician Harry Potter. (At this point I think Megan would make a comment about the size of his wand...).
The costumes are simple yet effective, brown-clad horses in their silvered masks and high-heeled hooves somehow conveying raw animal power and majesty, despite the actors being clad only in close-fitting t-shirts and trousers. The set, consistent throughout - a raised tableau with four free-moving boxes - transforms to different times and places through a subtle mixing of lighting, mist and shadow. Indeed, the atmosphere of the play is almost beguiling, the lighting and set evoking mystery and other worldliness in equal measure.
As we walked from the theatre my fellow theatre goers looked a little shaken. One announced that she found the experience "disturbing", with another agreeing that it had been strange and unsettling. Personally, I enjoyed the whole production, particularly the range of complex issues that it raised and left unanswered - from suggestions of the inter-relation of pain and passion, to questioning of beliefs and Christian values, to the juxtoposition of man and beast, god and slave, constraint and freedom. I appreciated the haunting atmosphere, which was often dark and suggestive. I was captivated by the exploration of psyche - mildly erotic and riding on (and perhaps over) the edge of sanity. How often do we trap ourselves? Is it better to feel extreme pain so that you can also experience extreme passion? Where does belief come from? A lot to think about for a Friday night.
Celebrity sighting
Rowan nodded to me as I walked from the bar, a bottle of Coke-a-Cola in hand. "Look toward the bar" he suggested quietly, "It's Patrick Stewart". Dutifully I scanned the bar area for any tall bald-headed men. "No, it's more umm.. three o'clock", Rowan indicated the direction with his eyes. It's rude to point. I turned casually and spotted him, shorter than I expected, chatting to a well-pierced young lady. When we got back to our seats (Golden Circle) Patrick was already seated, safely ensconced in a private balcony overlooking the stage. One of the perks of the industry I guess.
Problems with punctuality
Yes, I was late again. After a sleepy day I lost track of time (a hazard with this daylight saving thing) and ended up getting to the theater 20 minutes late. I had to bang on the door for an usher to let me in, and saw the first half of the play from the lower stall level. Thankfully I only missed the first few minutes and it didn't take long to become engrossed in the unfolding drama.
Radcliffe in the buff
Yes, Radclifee strips off. But he's not alone - the young lady who partners him is quite pretty. Then again, I've admitted before that girls in riding boots have always been a weakness.
Theatre crowd
I always enjoy theatre crowds - there's a nice mix, from younger funksters, alternatives and the older chardonnay crowd. Tonight's performance had a strong contingent of younger girls obviously out to see more of Harry Poter. I expected to see more opera glasses present.
0135 (London Time) 07 Jan, 2007
Where? Gielgud Theatre - Shaftesbury Avenue, London, UK
How much? Ticket prices from £19.50 - £49.50
It was Megan who suggested that we see Equus, one of the West End's newest plays. She wasn't exactly shy in admitting that her primary motivation wasn't so much artistic indulgence as the opportunity to "see Harry Potter's bits" (with accompanying finger motions). For myself, my interest was somewhat more pure (seeing Harry in the buff isn't really that appealing), the play having received significant acclaim since it's opening last month.
First released in 1973, Equus (by playwright Peter Shaffer) is the story of a troubled boy, Alan Strang (Harry Potter's - Daniel Radcliffe), who is sent to counseling after he blinds a stable of horses. Resentful and aggressive, Alan nevertheless begins to respond to the treatment of Dr Dysart (the portly Richard Griffiths), reliving his experience from early childhood to the terrible incident. The journey through Alan's psyche is dark and warped, a series of increasingly emotional and violent episodes.
The play is powerful, well directed and amazingly crafted. All of the main actors manage their parts with depth and humanity, from the brooding yet fundamental innocence of Radcliffe's Alan Strang, to the professional yet self-questioning Dysart, to the willful flightiness of seductress Jill (Joanna Christie). Radcliffe has real presence, a distinctly different creature from his film alter ego, the bespectacled magician Harry Potter. (At this point I think Megan would make a comment about the size of his wand...).
The costumes are simple yet effective, brown-clad horses in their silvered masks and high-heeled hooves somehow conveying raw animal power and majesty, despite the actors being clad only in close-fitting t-shirts and trousers. The set, consistent throughout - a raised tableau with four free-moving boxes - transforms to different times and places through a subtle mixing of lighting, mist and shadow. Indeed, the atmosphere of the play is almost beguiling, the lighting and set evoking mystery and other worldliness in equal measure.
As we walked from the theatre my fellow theatre goers looked a little shaken. One announced that she found the experience "disturbing", with another agreeing that it had been strange and unsettling. Personally, I enjoyed the whole production, particularly the range of complex issues that it raised and left unanswered - from suggestions of the inter-relation of pain and passion, to questioning of beliefs and Christian values, to the juxtoposition of man and beast, god and slave, constraint and freedom. I appreciated the haunting atmosphere, which was often dark and suggestive. I was captivated by the exploration of psyche - mildly erotic and riding on (and perhaps over) the edge of sanity. How often do we trap ourselves? Is it better to feel extreme pain so that you can also experience extreme passion? Where does belief come from? A lot to think about for a Friday night.
Celebrity sighting
Rowan nodded to me as I walked from the bar, a bottle of Coke-a-Cola in hand. "Look toward the bar" he suggested quietly, "It's Patrick Stewart". Dutifully I scanned the bar area for any tall bald-headed men. "No, it's more umm.. three o'clock", Rowan indicated the direction with his eyes. It's rude to point. I turned casually and spotted him, shorter than I expected, chatting to a well-pierced young lady. When we got back to our seats (Golden Circle) Patrick was already seated, safely ensconced in a private balcony overlooking the stage. One of the perks of the industry I guess.
Problems with punctuality
Yes, I was late again. After a sleepy day I lost track of time (a hazard with this daylight saving thing) and ended up getting to the theater 20 minutes late. I had to bang on the door for an usher to let me in, and saw the first half of the play from the lower stall level. Thankfully I only missed the first few minutes and it didn't take long to become engrossed in the unfolding drama.
Radcliffe in the buff
Yes, Radclifee strips off. But he's not alone - the young lady who partners him is quite pretty. Then again, I've admitted before that girls in riding boots have always been a weakness.
Theatre crowd
I always enjoy theatre crowds - there's a nice mix, from younger funksters, alternatives and the older chardonnay crowd. Tonight's performance had a strong contingent of younger girls obviously out to see more of Harry Poter. I expected to see more opera glasses present.
posted by the wastrel @ 12:17 PM
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