To successfully adapt any story prominently featuring animals to the stage is a challenge that requires a great deal of creativity and artistry. What Nick Stafford has done in adapting this 1982 Michael Morpurgo novel to the stage, in conjunction with the hugely talented Handspring Puppet Company led by Adrian Kohler, is nothing short of extraordinary. This is not only due to the breathtaking visuals employed, but the beautifully structured narrative that’s steeped in emotional depth, not to mention the story told excellently by the entire cast and creative team all working together in perfect harmony.
War Horse is a story of friendship in the face of one of the worst global conflicts ever seen, centred around Albert Narracott and the bond he forms with a young horse recklessly purchased by his drunken father at an auction. As the pair both grow up, their respective journeys follow similarly tumultuous trajectories, as they both become embroiled in the First World War in northern France, with Albert desperate to be reunited with his equine best friend, following his sale by Albert’s dad to the British army.
This play gloriously adapts Morpurgo’s source material, in a highly emotive, sophisticated piece of theatre that has us fully engaged from start to finish. Not only are performances first rate, with universally exceptional delivery of the narrative, but how it is embellished is truly something special. Creatively, this show hits on all cylinders, with music and sound design from Adrian Sutton, John Tams and Christopher Shutt proving particularly stirring, especially when we are treated to a full chorus in all its splendour.
Perhaps the most impressive and imaginative element by far though is the quality of the puppetry, both the design of the puppets themselves and those commandeering them, with the team behind Joey (Rianna Ash, Chris Milford and Thomas Goodridge) in particular deserving of huge plaudits. Their base movements, the unity between all performers involved, and how they articulate the raw animalistic emotion of these stunning horse puppets makes it easy for us to suspend our disbelief. It takes a great deal of skill for a puppeteer to be able to disappear behind the vessel with which they perform, and all those involved displayed a mastery of their craft.
Another majorly noteworthy element that both guides us through the timeline and provides fabulous contextual clarity to each scene, is the use of video and projections, as well as some utterly exquisite animations. Leo Warner and Mark Grimmer combine expertly with Rae Smith for some gorgeous, highly unique visuals that accompany each scene. Directors Tom Morris and Katie Henry deserve a huge amount of credit for being able to balance all of these elements so seamlessly.
Leading the cast as Albert, Tom Sturgess is a sensational presence, he has the audience in the palm of his hand throughout, displaying a performance of deftness and emotional depth. Everyone on stage excelled, but Sally Swanson as the main singer is this critic’s pick for the most pleasant surprise, her beautiful voice and accordion playing acts to link us from scene to scene, as well as enhancing the emotion of the scenes magnificently. It’s wonderful also to hear the entire company united in song at various points; we are treated to a glorious wall of sound in some stunning choral sections, especially during the second act, as they bring to a close one of the most remarkable, heartfelt, and narratively mature pieces of theatre that will be remembered for years to come.
War Horse plays at The Lowry until 28th September - for more information and tickets, you can follow the link here.
⭐️⭐️⭐️⭐️⭐️ (5*)
Gifted tickets in return for an honest review | photography by Brinkhoff Moegenburg
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