This new adaptation of 'Equus' stays true to Peter Shaffer’s script while adding distinct Indian elements into the mix

Making an ambitious leap into the Indian theatre scene, Sukrit Mahajan makes his directorial debut with a fresh rendition of Peter Shaffer’s psychological masterpiece, Equus. This Playhouse Productions’ offering brings the globally celebrated drama — first staged in 1973 and performed at Broadway and the National Theatre — to Bengaluru.

Equus has been performed by titans of the stage, including Anthony Hopkins and Daniel Radcliffe. Yet, Sukrit’s approach seeks to honour its original brilliance while crafting an Indianised narrative that resonates with the local audience. The play centres on the 17-year-old Alan Strang, who, after a horrifying act of blinding six horses, finds himself entangled in the moral and existential struggles of psychiatrist Martin Dysart. “This play was my introduction to theatre eight years ago. It became the centre of my life. When I decided to start my own theatre company, I knew I had to begin with Equus. The piece confronts vast complexities but, at its core, is an exploration of the human mind — offering a mirror to every person who experiences it,” Sukrit Mahajan begins.

For the debutant director, adapting the western psychological drama to an Indian milieu posed both challenges and opportunities. “In a country like ours, where religion binds and divides, Equus is a compelling exploration of religious extremity and unregulated practices. Modern India is still grappling with sexuality and this play challenges those boundaries. It invites the audience to consider the myriad ways in which the human mind operates, showing us how little control we truly have,” he shares.

True to Peter’s minimalist yet evocative vision, the production employs a symbolic set design. The production remains faithful to the playwright’s original script but infuses Indian sensibilities through the performances and design elements. “While the cultural references remain Western, the Indian audience isn’t unfamiliar with those nuances, thanks to global content access. Our aim is to bridge that gap without direct cultural transpositions. We’ve taken Peter’s cues and expanded them visually. The set consists of four benches symbolising church pews and a doctor’s desk upstage designed to resemble an altar. A focal theme for our interpretation of the play was the existence of ‘Shadow Selves’ (as coined by Carl Jung), which we explore through shadow theatre. Two curtains hanging from the ceiling become canvases for visual scenes depicting the characters’ hidden selves,” he reveals.

Soundscapes play a pivotal role in Equus, with the haunting timbre of the church organ forming the backbone of the production’s auditory design. “The music is grand, intense and deeply rooted in Christian religious motifs. It complements the play’s psychological depth and adds to the immersive atmosphere,” the director elaborates.

The 100-minute drama features an ensemble led by Arjun Kachroo (Alan) and Varad Salvekar (Martin), supported by Tushant Mattas, Vaishnavi Ratna Prashant, Ankita Podder, Zohra Mithani and Lobsang Jimba Norbu. With assistant direction by Meghna Manglani, lighting design by Prerana and creative production by Durga Venkatesan, this collaboration promises a meticulously crafted experience.

Sukrit acknowledges the difficulties of directing such an intense piece as his debut. “The language, mannerisms and cultural undertones don’t come naturally to Indian actors. Bringing the essence of Peter’s western writing to life while connecting with the audience on deeply uncomfortable, human truths was daunting. But when we create that connection, the reward is profoundly satisfying,” he adds. With its debut in Bengaluru, the production aims to challenge, provoke and inspire. As the director aptly concludes, “Equus makes us confront the shadows we often avoid, asking us to reflect not just on the characters but on ourselves.”

₹400. November 23, 3.30 pm & 7.30 pm. At Jagriti Theatre, Whitefield.