Why must art descend into obscure, uncomfortable corners of the human psyche? According to Sukrit Mahajan, director of Equus (Reimagined by a Playhouse production), theater isn’t just about entertainment – ​​it’s about holding up mirrors to the darkest parts of us, even the ones we want to keep hidden.

Few plays present this philosophy as deeply as Peter Shaffer’s EquusA poignant psychological drama that explores the tangled forces of passion, shame and desire. First staged in 1973, Equus Tells the story of a teenager named Alan Strang whose unspeakable act of violence – blinding six horses – sets the stage for an exploration of faith, repression, and the fragility of the human mind. Now, Sukrit is bringing this Tony-winning classic to Indian audiences, using shadow theater and a deeply personal lens to illuminate the shadows within.

“The first play I acted in Equus“Sukrit fondly recalls his college days. “It changed the direction of my life and career. Seeing it again as my first production with Playhouse Productions felt like coming full circle.”

This deep personal connection, paired with Sukrit’s training at the Drama School Mumbai, influences his adaptations to new interpretations. Taking inspiration from Carl Jung’s theory of the ‘shadow self’, Sukrit examines the repressed parts of the psyche – those hidden, shameful truths we suppress even from ourselves. “Each character Equus “This is not just about Alan or his psychiatrist, Dr. Martin Dysart,” explains Sukrit. “That’s what makes the play universal and deeply human.”

To bring this to life, Sukrit uses shadow theatre, a visual metaphor for the characters’ hidden desires and fears. Long curtains turn into screens where the shadows of the actors become larger than life, blurring the line between what is hidden and what is revealed. Sukrit says, “Whenever a character’s shadow self is explored, it is staged in shadow, emphasizing its intangible but omnipresent nature.”

This innovative staging (is also the USP of this restoration Equus This is paired with the haunting soundscape of church organs, highlighting the play’s themes of faith and rapture. “The music was a deliberate choice,” says Sukrit, “given the play’s connections to religion and Christianity, the church organ seemed like the perfect auditory metaphor.”

Whereas Equus A great work in global theater – with previous productions featuring stars such as Anthony Hopkins and Daniel Radcliffe – Sukrit was free from its legacy. “I never felt pressure to match previous productions,” he says. “For me, the goal was to create something thought-provoking, engaging, and true to the script.”

Still from ‘Equus’ Photo Credit: Special Arrangement

Yet this presentation is not just a tribute to Schaeffer’s work – it is also an exploration of social taboos that are rarely addressed in mainstream Indian theatre. “Subjects like sexuality, especially in unconventional contexts, are not often explored here,” explains Sukrit.Equus Forces you to confront discomfort, but does it in a way that remains accessible to a wide audience.

To ensure authenticity, Sukrit began rehearsals with 10 days of script readings, allowing the cast to immerse themselves deeply in the text before diving into blocking or themes. “I wanted the actors to play their characters organically,” he says. This collaborative process extended to the use of ropes in abstract scenes, symbolizing the forces of control and oppression that bind the characters.

Ultimately, Sukrit hopes Equus will force the audience to question not only the characters’ choices but also their own buried fears and desires. “The play is, in many ways, a love story,” he believes, “it is about the extremes where passion can take us, the thin line between worship and obsession.”

Equus will be staged at Medai – The Stage, Koramangala on November 22 (7.30 pm) and at Jagriti Theatre, Whitefield on November 23 (3.30 pm and 7.30 pm). Tickets on BookMyShow.