In our upcoming production of Peter Shaffer’s captivating play, we have been spending time with our actors in groups thinking about chorus movement and physical theatre. The Psychiatrist at the centre of “Equus”, Martin Dysart, desperately strives to understand the moments of passion that make our life worth living. Touch and connection are at the heart of the text, and we have been lucky enough to make the most of professional intimacy direction to think about how the sexuality of the 1973 play translates to today’s rehearsal room and theatre experience. Ironically, however, I write this preview from covid isolation, as the fourth member of our company to have to isolate during the process.

“I can’t help but reflect on how charged staging physical touch has become”

Stuck in my room, unable to be in rehearsals, I can’t help but reflect on how charged staging physical touch has become. Zooming into the rehearsal room over the last few days has been a reminder of why I wanted to put on “Equus”. Being in a space full of energetic and engaged actors, creating a piece of choral, physical theatre is an experience second to none for me. Creating and watching live theatre just can’t be replicated. I think it’s something of the same passion at the heart of Shaffer’s play.

Unable to go to the ADC, I talked to the actors playing Dysart and Alan over zoom to hear how they have found the process of becoming their characters:

“It is precisely because Alan is unlike any other character that playing him is so exciting”

Mark Jones: Alan is unusual. Not only because of his worship of horses and his obsession with the body, but because the audience needs to sympathise with him despite all this. The process of becoming Alan has therefore been quite difficult - the role is particularly exhausting, both physically and emotionally, and you don’t want to do him an injustice by playing him as simply vicious and closed-off. He represents an essential state of devotion that exists in everyone. I think my starting point was that I wanted, and needed, to feel comfortable in my own body - in the intimacy workshops we developed the close contact between Alan and the horse, moving and breathing together, and considered Alan’s reverence for physical touch. Our director wanted to present the horse as an extension of his body, and as an echo chamber for his emotions. It is precisely because Alan is unlike any other character that playing him is so exciting. Having rehearsed to the four walls of my room in isolation, I feel I am now moving towards a release, a moment of euphoria, in the performance of “Equus” before a live audience.

Gregory Miller: I suppose it would be a lie to say that I have ‘become’ Dysart. However, certainly, I’m a tad closer to him than I was. Dysart is often a little removed from things happening around him, being a person who often retreats into his own mental space. He is stiff, he is middle-aged, and he is full of fears, doubts, and insecurity. We’re well-acquainted with the mannerisms of professional men like him. Getting into such a headspace isn’t a massive leap in some respects, and yet in others it sure is mighty. He’s a cold person, a manipulative person, and an egotist. Yet there is something about him, beyond all this, that is in some strange way principled. In order to get ‘near’ Dysart, these contradictions need to be embraced.

“I am continually reminded of the impact of physical bodies, proximity and breath”

It has been so much fun to work on such an electric text, with such a brilliant group of actors. From the joy of playing rehearsal games, to witnessing the tremendous effect of ten people staring at you while humming, I am continually reminded of the impact of physical bodies, proximity and breath. It has been so liberating and exciting to think about these things as aspects of performance, and to notice their arresting – perhaps even spiritual – impact.

That is part of what Shaffer’s play has taught me, to notice the sacred but ordinary things that are worth worshipping: “Spirits of certain trees, certain curves of brick wall, certain chip shops, if you like, and slate roofs - just as of certain frowns in people and slouches […] Worship as many as you can see - and more will appear!” So whether it’s just getting to see everyone practice walking in the ADC bar, or rehearsing the pauses in a single monologue with one actor, the experience of putting on “Equus” has been so much of what I missed about the last two years, and the last 7 days!

Equus is playing at the ADC Theatre at 7:45pm, from Tuesday 15th February until Saturday 19th February.