GetOut Magazine

Nearly Naked excels in ‘‘Equus’’
By MAX McQUEEN
Get Out
Nov. 27, 2002

With Equus, Nearly Naked Theatre almost fully realizes its mission of producing the Valleys most provocative and thought-provoking theater. Its about time.

When Damon Dering founded Nearly Naked in 2000, the actor/director/producer clearly wanted to fill the gap left by Planet Earth Theatres sudden closure.

Unfortunately, Dering seemed so focused on his new theaters mission that he selected plays that served an agenda, not audiences. The dearth of patrons suggested perhaps there was not much interest in obscure works such as Michel Bouchards Lilies or even Salomes Last Dance, a play about Oscar Wildes scandalous Salome.

With last years Torch Song Trilogy and this falls The Shape of Things, we saw signs that Dering and his colleagues were starting to serve the plays instead of the dictates of a mission statement thats subjective at best, and presumptuous at worst. In so doing, Nearly Naked spun a masterful production of The Shape of Things. Equus bests that Pygmalion take on modern romance with a compelling revival of Peter Shaffers 1975 Tony winner for best play.

Without its frank, full-frontal nudity, Equus would be easy for most theaters to reject. Shaffers unsettling drama could not be construed as a nice night out on the town, not with a plot pegged on a devout stable boy who blinds a barn full of horses. And thats just the start. The lad then becomes a flesh-and-blood rope in a tug of war between his parents, the courts and a psychiatrist whos having his own crisis of faith.

The success of Equus rides on the shoulders of Dr. Dysart, a middle-aged psychiatrist in a comfortable, unchallenging practice.

Actually, the plays psychological journey is more his than the boys. Dering has the perfect actor for this tough role in Charles Sohn. He gives a well-rounded portrait of a man of science trying to find explanations for behavior beyond reason. Hes deliberate. He avoids clichés. Most important, he humanizes a play void of any truly likable characters.

As the British lad obsessed with horses, Dan Sykes is the walking tabula rasa required of the role. At least for Act One, anyway. Ever so slowly, the boys blank-slate personality gains depth through hypnosis-induced flashbacks, emotional outbursts and a cautious romance with a fellow horse lover (languorous Heather Massie). Sykes engages all of the above with a natural mix of youthful curiosity and hesitancy.

Dering gets uneven support from his secondary players. For instance, Rebecca Siegel comes across as genuine as a magistrate deeply concerned about the boys well-being. On the other hand, Laura Durant seems at arms length from her side, yet pivotal, role as the troubled boys mom. Its as if shes divorced from her characters tirades. Joe Kremer is equally disjointed as the boys taciturn dad.

Derings crew makes excellent use of the cramped quarters at Phoenix Theatres Little Theater. Designer Greg Jaye turns the stages back wall into a bank of stables, usually holding six men and women acting as the horses of the plays title. Whether empty or filled with equine figures, the stables are an ever-present reminder that horses are never far from the boys disturbed mind.

Nykol de Dreus lighting streams across the set in crisscross patterns, effectively suggesting a cathedrals ethereal light. This attention to detail is telling and illumines Derings attention to the plays otherworldly undertone, not just its highly charged drama. For at its heart, Equus is about that place where the spirit, flesh and mind intersect. Its a crossroads that has baffled humans since time began. Equus doesnt provide clear directions. But at least it asks the right questions.

Equus, by Peter Shaffer

Who: Nearly Naked Theatre
When: 8 p.m. Wednesday, Friday and Saturday
Where: The Little Theater at Phoenix Theatre, 100 E. McDowell Road
How much: $12-$14 Info:
Grade: B+