“When Equus leaves – if he leaves at all – it will be with your intestines in his teeth.”

In the same way that there are some people who don’t like to ride roller coasters, there must be people who won’t enjoy art that’s likely to grab at your throat and give you a rush.  Yes, there’s always a time and place for mindless or bubblegum entertainment – Lord knows, there were whole months when I watched Telemundo without knowing any Spanish – but everyone should allow themselves at least an occasional opportunity to see something potentially transcendent.

That’s why I love Equus.  I read the script back in college and it completely transformed my perspective.  Because of this power, it has survived for more than 35 years and become a modern classic.  What must it be like to try and play roles made famous in part by Anthony Hopkins and Daniel Radcliffe?  How much fun must it be to strap on a mask and become one of the six on-stage horses?  What’s it like to wake up in the morning and realize that tonight – and tomorrow night – you’re going to be completely naked in front of a roomful of strangers?

In this Theatre Downtown production, Tim Childers delivers in almost every scene as a disturbingly intense and rapt teenager; his Alan Strang is every bit the modern kin to Malcolm McDowell‘s Alex in A Clockwork Orange.  Ginny S. Loggins is excellent as the concerned magistrate and gives her character a clear inside-warm and outside-tough.  Mel Christian provides several first-rate moments as Alan’s mother, using both her infectious laughter and her sincere, overwrought motherhood.  David Phipps and Christina Guthrie are also notably well-cast as Alan’s father and (human) love-interest.  Full credit to the director, J.J. Marrs, for realizing his own vision of this difficult piece.

Equus is an experience, and I could write about it for pages and pages.  Instead, I’ll just tell a quick story.  I remember seeing a Rhodes College production of Equus back when I lived in Memphis and there were three cute coeds sitting in front of me for that performance.  I talked to them at intermission, of course.  (Another great reason for guys to go see plays.)  But I was so disappointed when they told me they were just there for extra credit.  In fact, they were shocked that I might want to be there for any other reason.  And some people won’t ever appreciate roller coasters, I guess.

I’d like to encourage other organizations around Birmingham to follow Theatre Downtown’s example and offer something like a Thursday “Hobo Night” – where you’re allowed to pay what you can afford.  This practice encourages students and non-corporate types to come out to the show, which may help build a citywide love of the arts.  But if you think hobnobbing with students and non-corporate types will make you smell funny, you can just come on regular nights.

Finally, if you see Equus – and I absolutely recommend it – be aware that it earns its R-rating for nakedness, sexuality, and violence.  Don’t say that no one warned you.  Although it’s always fun to witness firsthand the dropped jaws and shocked gasps from those in the audience who weren’t forewarned.

“I can hear the creature’s voice.  It’s calling me out of the black cave of the Psyche.  I shove in my dim little torch, and there he stands – waiting for me.  He raises his matted head.  He opens his great square teeth, and says – Why? . . . Why Me? . . . Why – ultimately – Me? . . . Do you really imagine you can account for Me?  Totally, infallibly, inevitably account for Me?”

Thanks to Billy Ray Brewton, J.J. Marrs, and Scarlett Bradford for welcoming me to their show.