ASR Theater Review! A Tremendous “Equus” at 6th Street Playhouse — by Barry Willis


Passion, religion, sexual fixation, and the concept of normalcy all get fully examined in Peter Shaffer’s multiple award-winning “Equus,” at 6th Street Playhouse in Santa Rosa through February 25. In it, a disillusioned child psychiatrist treats a severely uncommunicative teenage boy who has mutilated some horses after a pair of back-to-back personal traumas. The overworked Dr. Dysart (Craig A. Miller) reluctantly takes on the case of Alan Strang (Ryan Severt) at the insistence of magistrate Hesther Salomon (Tara Howley), who tells him she has never encountered such a shocking case.

When Dysert first meets the nearly mute Alan, the boy can recite only snippets of commercial jingles from television. Dysart discovers that he was primed for both trauma and asocial behavior by a religious fanatic mother (Juliet Noonan) and a cold undemonstrative father (John Shillington). Alan’s eventual “cure” will give him an acceptably boring existence while depriving him of the deep meaning he finds in his self-constructed personal religion. Dysert despises this necessary compromise and realizes that in the process of treating Alan, he is assuming much of the boy’s karmic burden.

It’s a powerful tale that’s as relevant today as it was when it debuted in 1973, a fact that prompted 6th Street artistic director Miller to produce it. His instinct was perfect. This production is one of a current crop of hyper-relevant shows running in North Bay theaters, and one of the best. Strongly but sensitively directed by Lennie Dean, “Equus” benefits from tremendous performances in major roles (Miller, Severt, Noonan) plus superb ensemble work by actors in multiple secondary roles. Outstanding here is Chandler Parrott-Thomas, who plays Jill, a free-spirited girl who recruits Alan to work at a stable, and later attempts unsuccessfully to seduce him, with unexpectedly disastrous results.

Conor Woods’s deceptively simple, utilitarian set works wonderfully in helping the production move along quickly with minimum changes. Slow-to-launch exposition initially hampers the first act, which soon gains momentum sufficient to get airborne. After that it sails along gloriously. The only other drawback is some unevenness with the British accents. The play originated in the UK, but the story isn’t inherently British. It would work just as well in the American idiom.

These are exceedingly small quibbles, of course. “Equus” is a gripping, superbly well-rendered tale that will haunt you long after leaving the theater. Emphatically recommended for theatergoers who may have seen it long ago, as well as for those who’ve never had the opportunity. It’s a revelation.

Rating: Four-and-a-half out of Five Stars


Barry Willis is Senior Editor at Aisle Seat Review, a member of the American Theatre Critics Association, and President of the San Francisco Bay Area Theatre Critics Circle.


Peter Shaffer’s “Equus,” directed by Lennie Dean

Studio Theater, 6th Street Playhouse

52 W 6th St, Santa Rosa, CA 95401

Through February 25, 2018 Info:


***** ***** ***** ***** *****