Equus revisits Dysart's crisis of faith in his profession after he is assigned to the case of Alan Strang, a teenager who has blinded horses. As the psychiatrist probes the boy's motives, the case opens out into a broader examination of religious fixation, repressed sexuality, and escalating violence, while also forcing Dysart to confront his own moral and existential doubts. But what did the critics think?

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Equus Critic Reviews

"50 years after it was first staged, this production feels fresh and relevant in a world where mental health is on everyone's mind. There may be dated references to the TV ads of the Seventies that Strang initially uses to deflect Dysart's questions, but the sheer quality of the writing, the performances and the lighting create a totally absorbing tour de force performance that deserves to be seen by a wider audience in the West End and beyond." - The Reviews Hub

"Performed on a thrust stage, with no bad seat in the house, Posner's production is as solid as its satisfyingly plotted script, but there is no doubt the show flies highest in its most intense moments of beastliness. The ensemble of horses make this possible, but it's Valentine who convinces. His performance contains both the maturity of intense devotion and the foolish imaginings of a lonely child looking for something to believe in." - The Guardian

"Equus may not be the easiest of watches, but often I find the most memorable of the shows are the ones that can be disturbing. Peter Shaffer's story has thrilled audiences and got them talking for more than fifty years, and this latest production more than lives up to the high standard that has come before. With inspired direction and design, this is a dark and brooding Equus that doesn't so much gallop to the finish line, but instead opts for a slow trot, proving that in situations like this, slow and steady really can win the race. Though there is much to celebrate about this Equus, it is Noah Valentine's performance that proves to be the top selling point - still a relatively new, young actor - this phenomenal feat suggests we will be seeing a lot more of Valentine on stage in the years to come - it feels fitting to say a star is born when it comes to him, but it is the truth. Perhaps not a play to take the whole family to, but if you want to be reminded of how powerful and thought-provoking theatre can be, saddle up and get yourself down to the Menier." - All That Dazzles

"The second act finds Stephens building to an admirable fury of his own as he further questions whether his patients might not in fact be "victims", however fully he is committed to toppling Alan from his psychotic perch. There's a neat synergy in finding this role in the capable hands of the son of the actress, Dame Maggie Smith, for whom Shaffer wrote his much-loved play Lettice and Lovage, which is a comic variant in the study in contrasts on view here. What matters in Equus is the fearless study in extremities that Dysart tells us early on "is the point": this production, as it must be, is a wild ride." - London Theatre

"The Menier is a brilliant venue for the production, small enough to convey the intense claustophobia in the play, but also to appreciate the strength of the actors at such intimate quarters. It feels almost voyeuristic, peering into the darkness of Paul Farnsworth's stark set. Posner approaches the famous nude scenes with delicacy and thoughtful care, but leans into the inherent unease in the play. It is not an easy watch, but a hugely moving and compelling one." - BroadwayWorld