Talk of Equus tends to favour its nudity over its central story of Alan, a disturbed 17 year old sent for psychological treatment following his inexplicable attack on six horses, an element Shaffer based on a true story.

This adaptation of the 1973 play eschews the need for ‘curtains up’, opting instead for the players to silently appear one by one until the chattering audience are intrigued into silence, a fittingly insidious start for the events which follow.

The uneasy sexual undertones are palpable throughout as the angst-ridden discoveries of teenage years about oneself, about one’s parents and about the world around us are skilfully played out.

Judgemental undercurrents endure thanks to the director Michael Cabot’s decision to keep all 8 actors on stage at all times creating a dimly-lit backdrop of bodies which feels like judge, jury and executioner continuously condemning from the side-lines like a Greek chorus.

The Harlow Playhouse stage features six metallic horse heads creating an enclosure which remains a constant. Eerie yet elegantly Grecian, they mirror both the unnerving power Alan effortlessly holds over everyone he encounters and his Dr’s own obsessions.

The minimal set complements the on stage action perfectly. The cross at the top might as well have Jesus himself looking down for all the central characters’ all-consuming guilt whilst the remaining stone-effect seats are as bleak as the prospects of the two leads.

Credible performances abound, not least from the horny stable girl and the disturbed Alan. Whilst Dr Dysart moves seamlessly between narrator and lead role throughout proceedings, the unrelenting tempo effortlessly captivates from start to finish.

Equus remains as relevant today as it’s ever been. Don’t go expecting a happy ending but do prepare to revisit an adolescent demon or two.

Verdict: ****

The tour continues at various venues nationwide, see www.londonclassictheatre.co.uk for further details.