What’s most impressive about young Jose Zuniga’s raw performance in a new local stage production of “Equus” may be that he’s not Daniel Radcliffe — the “Harry Potter” wizard who buffed up to look extra good for the famous nude scene that pushed the Broadway box office to near capacity.
But “Equus” is not about a wizard. Or a toned movie star. It’s about a 17-year-old boy who, at his most naked, attacks his equine gods. And on the tiny Vintage Theatre stage, Zuniga is very much a boy. Gangly, gawky, not yet filled in. And performing a role that is intensely vulnerable — clothes on or off. He’s awkward, emotional and fires off a cool, enigmatic glare that could freak you out for days. You know, like most 17-year-olds.
“Equus” has remained one of the most controversial plays in the past 40 years not because of the nudity, but because of the shocking and disturbing nature of the play itself.
Written in 1973, this is a haunting and violent coming-of-age story about a British lad who has come to worship Christ and horses interchangeably. His mind has somehow mingled his parents’ religious dogma and shame, his titillating fascination with horses and the frightening and even violent hormonal urges of his own sexual awakening. Based on a true event, the play begins after Alan has blinded six horses with a metal hoof pick in the stable where he works.
“Equus” follows “Angels in America” as the latest example of Vintage Theatre taking on a theatrical challenge that’s bigger than it is and, if not conquering it, then at least doing it capable justice.
That’s due in large part to Zuniga and his warm chemistry with Kurt Brighton as Martin Dysart, the emotionally dead shrink who tries to unravel why Alan did it. As he coaxes Alan into opening up about the mutilation, Dysart battles his own strange feelings of envy — for Alan has experienced a kind of passion Dysart knows he never will.
This requires a calm, measured and even paternal performance, which Brighton (an occasional freelance theater reviewer for The Denver Post) delivers with a strong hand and soothing voice, often speaking in withdrawn whispers that could drown out shouts.
That’s one benefit to presenting “Equus” in the confined intimacy of a 60-seat theater, which proves to be both a blessing and inevitable compromise for director Craig A. Bond. The proximity and immediacy make for an uncommonly intense theatrical opportunity for audiences, though some will invariably be made uncomfortable by it.
But while the production moves fluidly on Peggy Morgan-Stenmark’s cleanly designed set, it must accommodate a stable, a mental ward, Dysart’s office and room for all 14 actors to observe the action like a Greek chorus.
All of which renders impossible the full exploitation of playwright Peter Shaffer’s most epic invention: The six horses that haunt Alan’s mind. They’re manifested by actors wearing hoof-like shoes and horse masks made of wires that don’t try to conceal their human natures. These men, always standing tall, each represent the front of a horse from its head down to its front legs, while implying the 2,000 pounds of girth behind them. There’s just not enough room to even suggest that kind of grandeur on a postage-stamp of a stage.
Bond gets strong supporting turns from Theresa Dwyer Reid as Dysart’s confidante, a forceful Libby Rife as Alan’s don’t-blame-me mum, and the two competing objects of Alan’s intense sexual desire — Caitlin Tomlinson as the first girl to show a sexual interest in him; and Zach Stowell as a man-horse called Nugget.
There’s some lack of surety and consistency of dialect elsewhere, and Bond’s casting of some horses indicates an incomplete understanding of their purpose. They’re underused throughout, especially in the climactic scene. And some sound effects generated by human voices are unnecessarily accentuated.
But it’s easy to see the roots of form-pushing new musicals like “Spring Awakening” and “Next to Normal” galloping through “Equus,” the former for its keen understanding of the frightening sexual nature of adolescence; the latter for its cynical belief that treating mental disease is less about helping you understand your feelings than it is about simply making you feel less.
“The normal is a good smile in a child’s eye, all right,” Dysart tells us. “But it’s also the dead stare in a million adults.”
To be healed, in this case, means you will not gallop anymore.
John Moore: 303-954-1056 or jmoore@denverpost.com
“Equus” *** (out of four stars)
Psycho-drama. Presented by Vintage Theatre, 2119 E. 17th Ave. Written by Peter Shaffer. Through March 20. 7:30 p.m. Fridays and Saturdays; 2:30 p.m. Sundays. $15-$20. 303-839-1361 or
This weekend’s best bet: “Machines Like Us”
Theatre Company of Lafayette is a tiny community theater that has made a niche for itself by presenting original, topical short-play festivals.
This latest is actually made up of two alternating productions – the world premiere of “Getting Betta,” a full-length comedy by company playwright-in-residence Don Fried, and “Robots Like Us,” six short comic commissioned playlets. The festival commemorates the 90th anniversary of the first use of the word “robot.” With Machines Like Us,” TCOL will have debuted 35 plays and playlets in just the past 36 months. 7:30 p.m Fridays and Saturdays, 2 p.m. and 6 p.m. Sundays through March 26.
Synopsis of “Getting Betta”: Michael is a technologically challenged senior. One day, the mysterious Betta arrives to help him. Is she human? Can she prevent him from destroying his DVR and himself? Performances: Friday, March 4, 7:30 p.m.; Sunday, March 6, 2 p.m.; Saturday, March 12, 7:30 p.m.; Sunday, March 13, 6 p.m.; Friday, March 18, 7:30 p.m.; Sunday, March 20, 2 p.m.; Saturday, March 26, 7:30 p.m.
Titles and synopses of “Robots Like Us”:
“The Uncanny Valley Girl” by Madge Montgomery. A technology professor tries to understand people’s aversion to robots.
“The End of the World (As We Know It)” by David Golden. Does community theater exist in a post-apocalyptic world?
“Going Shopping” by Linda Berry. Just before their wedding, the perfect couple searches for a domestic assistant to match themselves.
“Upgrade” by CP Stancich. Sometimes an upgrade isn’t an improvement.
“The Speaker” by Yohanan Kaldi. A man longs for silence in the presence of an uncooperative loud speaker.
“Star-Crossed” by Emily Golden. A lonely young woman may have found the perfect lover.
Performances: Saturday, March 5, 7:30 p.m.; Sunday, March 6, 6 p.m.; Friday, March 11, 7:30 p.m.; Sunday, March 13, 2 p.m.; Saturday, March 19, 7:30 p.m.; Sunday, March 20, 6 p.m.; Friday, March 25, 7:30 p.m.
At the Mary Miller Theater, 300 E. Simpson, 720-209-2154 or
This weekend’s other theater openings
“Boeing, Boeing” In this Tony Award-winning farce about love, lust and lucky landings, Parisian playboy Bernard has the perfect life — including a trio of air- hostess fiancees. But when all three ladies arrive in Paris the same day, Bernard has to think fast. Through April 3. Lake Dillon Theatre, 176 Lake Dillon Drive, 970-513-9386 or
“Buffalo Bill & Annie Oakley” In a departure from its normal fare, the Heritage Square Music Hall presents an original play about two of the most legendary figures of the Old West. Buffalo Bill’s “Wild West Show” was seen across America, and Annie Oakley was his sharpshooting star of the show. Through May 22. 18301 W. Colfax Ave., Golden, 303-279-7800 or
“Car Talk” And Toto Too is a theater company dedicated to producing new works by female playwrights. In Lucile Lichtblau’s new comedy, Rosalie surprises her middle-aged, middle-class Jewish parents with the news that she has a girlfriend — all within the intimate confines of a car. Performances Tuesdays through Thursdays through March 31. At the Victorian Playhouse, 4201 Hooker St., 720-280-7058 or
“The Smell of the Kill” Three couples are enjoying a monthly dinner party, but tonight, the men have trapped themselves in the freezer. And the women have a decision to make. A comedy by Michele Lowe (Denver Center’s “Inana” and “Map of Heaven”). Through March 19. Presented by Springs Ensemble Theatre at Watch This Space, 218 W. Colorado St., Colorado Springs, 719-447-1646 or
“Scriprov” The all-female improv group Dishwater Blondes joins up with the more traditional Legit Players acting troupe for an evening of games that combine fully prepared theatrical scenes with improvisations from the long-form comics. Billed as “a crazy mix of written and made-up theater.” Sunday and March 13. At the Vintage Theatre, 2119 E. 17th Ave., 303-839-1361.
“Swing” This Tony-nominated musical revue is made up of more than 30 standards from the swing era (“Blues in the Night,” “In the Mood,” “Boogie-Woogie Bugle Boy” and several tour-de-force dance sequences. Through May 8. Boulder’s Dinner Theatre, 5501 Arapahoe Ave., 303-449- 6000 or
Complete theater listings
Go to our complete list of in Colorado, including summaries, run dates, addresses, phones and links to every company’s home page. Or check out our listings or
This week’s video podcast: 2010 Mayor’s awards
This week, we take you to the presentation of a 2010 Mayor’s Awards for Excellence in the Arts to Buntport Theater. Guests include Denver Mayor Guillermo (Bill) Vidal. Held Feb. 23, 2011, at Su Teatro’s Denver Civic Theatre. Video by John Moore, The Denver Post. Run time: 7 minutes, 25 seconds.
The Running Lines blog
Catch up on John Moore’s roundup of the latest theater news:
