3 – 21 June
Michael Morpugo, whose novel was adapted for its original National Theatre production, doubted the idea of staging it when Tom Morris, the future creative director of the Bristol Old Vic suggested it to him. His main fear was that the play would reduce the equine heroes to a pantomime version.
It was only when he accepted Morris’ invitation to watch footage of the South African innovative Handspring Puppet Company in action that he relented. “If they can do this with a giraffe, they can do it with a horse,” he said.
But, of course, the story needs to be more than a clever use of puppetry. That war is truly terrible and how the resulting violence is explored through the experience of a simple horse needs to be just as believable.
In this new national tour Tom Morris has once more led creative development, along with revival director Katie Henry. The reimagined designs by Rae Smith and additional music by Adrian Sutton continue to make the show as relevant today as when it was first performed.
The story takes us from the Taw valley in Devon just before the outbreak of the First World War. There are already portents of strife with drunken Ted Narracott (Karl Haynes) battling with his brother Arthur (Gareth Radcliffe) over ownership of the young colt at auction. However, when Ted’s young son (Tom Sturgess) sees his beloved horse Joey sold to the cavalry to be shipped to the war in France he can only believe the naïve crumbs of comfort offered – that the whole thing will be over by Christmas.
When these words prove to be untrue he embarks on a journey to bring Joey home. Sturgess perfectly embodies both the innocence of youth, and the powerful bond between man and beast. His energy and empathy capture our hearts and don’t let them go until the very end.
There are so many standout moments, starting with Joey’s transformation into an adult horse. The company, over thirty strong, are supremely versatile, whether as villagers, grieving mothers, reluctant combatants or even when operating a wilful goose.
The main draw though remains the horses, not only for the all-pervading realism of their performances but from the emotional pull that they exert. The puppeteers deserve a credit in their own right, Eloise Beaumont-Wood, Diany Samba-Bandza and Jordan Paris for the foal Joey, Tom Quinn, Lewis McBean and Michael Larcombe for the majestic Topthrorn and Rianna Ash, Chris Milford and Thomas Goodridge for the adult Joey. It is not for nothing that they are named as Head, Heart, and Hind. These are real living creatures with an authentic snorting, rearing and loving personality.
The battle scenes leave nothing to the imagination and the overall brilliance of the theatricality blends the text, design, and sound into one dynamic story. The set design is kept deliberately simple, projecting hand drawings onto backdrops apparently of torn paper, reminiscent of soldier’s letters and notebooks sent home from the front.
A final mention must be made for songs by John Tams, powerfully sung by Scottish performer Sally Swanson who effectively sets the scene for each phase of the tale.
War Horse continues to set the bar for bringing animals to life and to demonstrate the power of theatre to convey the strongest of human emotions.
★★★★★ Bryan J Mason, 4 June 2025
Photography credit: Brinkhoff/Moegenburg
