Has that quality most of my favorite plays do: draws me in closer and closer without ever fully revealing itself, then shuts the door just as you get a glimpse. Fantastic characters too

To call Ricardo Soltero-Brown's exhilarating high-wire act of a play The Equestrian is like calling Who's Afraid of Virginia Woolf, "The Play About The Baby." We wonder if there really is a horse, or if that voice on the phone is actually the horse, then wonder if Danielle is any of the things she says she is. Pinter meets Beckett in a lyrical, yet undependable web of words. And who is being gaslit, Sarah or the audience? Grab on, strap in, get ready for the ride, knowing perfectly well there is no ride unless there is. A bravura mind-f**k.

The Equestrian keeps you guessing from the opening encounter between Danielle, presumably the owner of a special horse, and Sarah, presumably a prospective buyer. Soltero-Brown has a way with dialogue that deepens the mystery as the women talk to, around, and past each other. When a third voice from the phone joins in, the mystery escalates. I’d love to see how this plays out on the stage. The Equestrian presents an intriguing puzzle and great opportunities for actors.