'Equus' presents strong acting,
new staging technique

By Andrew Dominio
A&E Writer
Article Reprint from October 28, 1996

    An intense desire for physical beauty drives everything in "Equus," and the cast communicates its message successfully.

    The story concentrates on Dr. Martin Dysart (Hays Hitzing) and his patient, Alan Strang (Greg Winter), almost to the exclusion of everyone else.

    Hitzing, with almost twice as much stage time as any of the other actors, slowly moves into character. Many of his lines are monologues, spoken directly to the audience, all of which stretch on long past where they should stop, as if the character is trying to meet a minimum-word requirement for speeches.

    Hitzing's dialogue sounds as if he were reciting his parts of the script. Yet he retains the formal, detached manner of a psychologist toward his patients.

    Winter, however, turns in his usual passionate performance. He crawls and runs around the stage, shouting and speaking and giving the right note of sympathy to his disturbed teenage character. Winter strengthens the entire show, especially in the scenes where Strang acts out his previous behavior under hypnosis and a "truth drug."

    Although with smaller roles, Earl Corey Brown and Toni Jones, as Strang's parents, effectively show multiple facets of their characters' personalities. Jones shares openly with the audience moments of both pain and laughter.

    Other actors turn in strong performances as well. Elisabeth Oas as Jill Mason and Zachary Thompson as Horseman on the beach equaled Winter's acting in their featured scenes. Oas shines when trying to sweet-talk Winter in what becomes the most poweful scene in the play.

    The entire cast shared a natural affinity for the new "theater in the round" staging, managing to accommodate the audience on all four sides by simply facing different directions throughout the show.  The effect was natural and worth trying again in another play in the Multi-Form Theatre.

Western Herald © 1996