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As he nears the end of his career, psychiatrist Martin Dysart is suddenly confronted by the fascinating case of Alan Strang.

Seventeen-year-old Alan is fought over by his religious mother and atheist father, and something drives him to blind six horses with a metal spike.

To understand Alan’s brutal crime, Dysart must uncover secrets about his parents, his childhood and his relationship with a stable-girl, and the psychiatrist finds himself paradoxically in the witness box.

A savage and passionate play that drives us all to question what it is that makes us human.


Writing this note, during which I should probably try and describe my experience of directing in as few words as possible, is difficult to accomplish with any sense of retrospect or looking back; as I write, there are still ten days to make the seemingly inconceivable leap from rehearsals in the Union to the fully-fledged, lit-up production that is sitting in my head.  I hope, for my sake and yours, that, as you read this, the objective has just been or is about to be achieved.

It is safe to say that Equus has been far bigger than I expected, in almost every imaginable way.  What I believed to be quite a simple decision to do ‘that play about the horses’ has inexplicably led to a seemingly endless troop of designers, artists and technicians dedicating their time to creating the aesthetics to bring this play to life.  To this band of merry men and women, I am eternally grateful.  This play wouldn’t pack half the punch it does if it weren’t for all of you, so thank you.

To the horses – thank you for agreeing to gallop.  You do it so magnificently.

To Alison – thank you for Efes.  Turkish food is fantastic.  And for coffee-related predictive text.

To James – thank you for being on the ball.  You are a perfectionist and a grafter, and a haplessly brilliant human being.

To Kat – thank you for doing things that I just can’t.  You have assembled and directed your team with such efficiency and flair, and I don’t really understand how.

To Liz – there are no real words.  Thank you for letting me use your internet.  And thank you for pizza.  Here’s to the bucket list at the back of your diary.

To everyone who has taken the time to ask how things are going – it means more than you’d probably think, so thank you.

To the cast – every single one of you is so incredibly talented.  You have never failed to astound me with your enthusiasm, support and dedication, and I hope I have held up my end of the bargain.  Thank you for working so much harder than most people will ever know, and for becoming such good friends of mine.  I’m more than confident that you’ll give the performances you deserve.  Enjoy it.


Dr. Martin Dysart – Arsalan Sattari

Alan Strang – Tom Dixon

Frank Strang – Paul Hilliar

Dora Strang – Charlie Steele

Jill Mason – Bethan Ratcliffe

Hesther Salomon – Lucy Kempster

Nurse – Helena Bradbury

Horseman & Nugget – Andy Beasley

Dalton & Trojan – Nathan Buckley

Horse ensemble – Ed Crowther, Adam Renvoize, Rachel Turner, Lucy Weston


Director – Stuart Gresham

Production Manager – Liz Johnson

Art Director – Kat Chapman

Stage Manager – James Donnelly

Producer – Alison Cryan


Lighting Designer – Chris Irving

Sound Designer – Katy Robinson

Set Designer – Sarah Balchin

Costume – Sarah Rubini, Rachel Wassell

Art Team – Kat Bradfield, Laura Elliott, Heather Newson, Eleanor Rothwell, Jess Waller, Katarina Warren, Lucy Weston, Catherine Woolley

Horse Eye Technicians – Matthew Robinson, Stephen Fry

Lighting Operator – Hamish Ellis

Sound Operator – Oli Godwin


Best Show – Equus

Best Tech – Equus

Best Actor – Arsalan Sattari

Best Director – Stuart Gresham