Equus: Sukrit Mahajan turns director with Peter Shaffer’s psychological masterpiece
A Playhouse production, Equus is premiering at Veda Kunba Theatre in Mumbai on August 4
By Reema Gowalla
Celebrated playwright-screenwriter Peter Shaffer’s 1973 masterpiece Equus — which in the past was staged at Broadway and National Theatre, featuring acclaimed actors like Anthony Hopkins, Daniel Radcliffe and Richard Griffiths — has now got a new Indian adaptation. Helmed by debutant director Sukrit Mahajan, the play traces the curious case of a 17-year-old boy named Alan Strang, who blinds six horses with a spike, as it eventually becomes a catalyst for his psychiatrist (Martin Dysart’s) own doubts. Premiering at Mumbai’s Veda Kunba Theatre on August 4, Equus is a psychological deep dive into religion and sexuality.
A Playhouse production, the cast of the 100-minute psychological drama includes Arjun Kachroo (Alan), Varad Salvekar (Martin), Tushant Mattas (Frank Strang), Vaishnavi Ratna Prashant (Hesther), Ankita Podder (Dora Strang), Zohra Mithani (Jill) and Lobsang Jimba Norbu (Dalton). Meghna Manglani is the play’s assistant director, while Durga Venkatesan is the creative producer and Prerana is in charge of lighting design.
Equus has often been spoken about more for its cerebral and abstract storyline than its stunning presence on stage. So, what made Sukrit pick this complex play as his directorial debut? “There are themes in theatre that are ever relevant, but those that Equus dabbles in are actually very unconventional. The story directly talks about religion. Then it intertwines religion with sex and transitions to the socially accepted definition of normal. Another central tenet of our version of Equus is the exploration of the shadow or the dark side of a human being, and the shame associated with it. It’s something that no one ever acknowledges. Such things are usually ignored in conversations between people, let alone portraying them on stage. That’s one of the primary reasons I chose this play as my directorial debut,” he told TheatreRoom.
Sukrit was associated with a production of this play during his second year in college too. So, he has a sense of ease with it. Elaborating on that, the director said, “During my college days, we had performed Equus a number of times. So, somehow the play stayed with me. But it’s only after seven-eight years of experience in professional theatre that I have come to fully realise the depths of this masterpiece. It has just so much more to offer. So, after I opened my own theatre company, Playhouse, I personally wanted to pay tribute to this wonderful script. I feel it’s one of the most brilliantly written plays ever, and I consider this a huge milestone in my life to direct this play.”
Although he began working on Equus around November last year — particularly on its design and concept — Sukrit was finding it difficult to procure the performing rights for the play. On actor-director Akhshay Gandhi’s advice, he began a private crowdfunding campaign. “I reached out to all my friends and family members, who didn’t mind shelling out ₹5,000-₹10,000 for the project. Then after auditions were complete, we began our regular rehearsals, and I feel we’re at a good point in the play right now. Since it’s a layered script that explores the depths of the human mind and its complexities, we just sat down and studied the play during the initial days of rehearsals. A lot of importance has been given to the text in that manner.”
Although the team has spent a lot of time and effort on designing the play, they have stayed true to the original script in terms of context and characters. “I agree that the setting of the play may not seem directly familiar to an audience in India. But I feel, it’s also not unfamiliar to them. We have been consuming content from around the world for quite some time now. So, even if it’s not a plot set in Mumbai or Delhi, it isn’t true that the play is not relevant to the people here. That said, I also wanted to create an environment inside the auditorium, which is exclusive to that space. Thus, you create such a world which is unfamiliar within the walls of the auditorium and draw the people in. That’s the beauty of theatre, and that’s what we mean by ‘suspension of disbelief’. The audience will believe what we show them, provided we present the story truthfully and honestly. Additionally, the play talks about the human mind, which is universal. Yes, it’s a little disturbing in certain parts and some may even find it uncomfortable, but through that the play is trying to depict our dark side, which we usually try to hide. It’s similar to the concept of ‘shadow self’, coined by Carl Jung.”
The original play was loosely based on a real-life incident that took place in a small town in northern England several years ago. For Sukrit’s directorial version, the team has kept Shaffer’s text intact, while working more on the design elements of the play, particularly by bringing in the aspect of shadow theatre which is crucial to creating the equestrian aura. Praising Shaffer’s narrative technique, Sukrit said, “When you read this play, it feels very poetic, but also not. Although there are a number of themes and concepts entwined in it, they all blend together so seamlessly that you can’t even objectively point them out.”
As for the other elements of the setting, the play mostly uses “neutral objects”, such as benches and drapes, which can be constantly moved around, depending on the requirements of each scene. It’s the composition of these objects that add value to the piece. The narrative revolves around the doctor’s office, making it the central space of the play. Another interesting component of Equus is the pipe organ, which is associated with church music. “Since the play’s theme dabbles in religion, specifically Christianity, the use of pipe organ helps to transport the audience to such an environment. Thanks to the compelling script and thought-provoking characters, Equus truly makes for a grand, visually appealing theatrical experience,” the director summed up.
Catch shows of Equus at Veda Kunba Theatre on August 4 (6pm and 9pm). You can book your tickets here.
