JADAR

★★★★★

Spearheading the art of puppetry in the mainstream, the Handspring Puppet Company and the National Theatre’s War Horse returns to the UK after opening nearly 20 years ago.

After runs at the National Theatre, on the West End, and on Broadway, War Horse has been revived for another UK and Ireland tour, including many of the original creative team behind the National Theatre’s first production of the iconic play. Namely, Tom Morris returns as Director, and Toby Sedgwick as Director of Movement and Horse Choreography.

War Horse, both as a play and a novel by Sir Michael Morpurgo (who was in attendance), has become a staple in British Drama and English curriculums. As a result, War Horse holds a special place for those of us who grew up in the early 2000s.

Despite its long history and the time since it first premiered, War Horse feels fresh and far from outdated. It serves as a poignant reminder of the tragedy and senselessness of war, especially in contrast to the bonds of friendship and shared humanity. This message resonates deeply today, where conflict and war are still ever-present realities. The play’s central question—”What are we fighting for?”—remains as relevant as ever, powerfully highlighting human connection and friendship over hatred.

The Handspring Puppet Company’s work in War Horse is renowned for bringing puppetry into the mainstream, and this aspect of the production was instrumental in creating a sense of magic on stage. The towering scale of the horse puppets beside the actors was breathtaking, a true testament to Handspring’s remarkable achievements. Despite this scale that the puppeteers (Rianna Ash (head), Chris Milford (heart), Thomas Goodridge (hind)) had to work with, they portrayed the horse’s emotions so clearly – we sensed each change in emotion or feeling, when Joey was becoming spooked, curious or willing himself to keep going.

The hand-drawn projections, displayed on a long strip of paper-like screen suspended above the performers and puppets, beautifully suggested changes in location and mood. Simple, thin line drawings illustrated the Devon countryside as Joey and Albert grew up together, while dark red poppies, bleeding onto the screen, marked the casualties of war as they exited the stage, and dark, thick murky line art depicted the horrors of no man’s land. These projections also enhanced the combat scenes, with striking flashes of white and yellow appearing across the screen to signify gunfire.

A standout moment for me was when Joey transitioned into a full-grown horse — golden light flickered across the projection strip in harmony with the stage lights, and the entire theatre gasped as the full-sized Joey puppet reared on its hind legs, replacing the foal that had come before.

Another standout was Tom Sturgess’ performance as Albert Narracott. Albert’s chemistry with Joey the horse was heart-wrenching, seeing his best friend being ripped away from him was hard to watch, in the best way. Sturgess’ portrayal of Albert’s love for Joey brought the puppet to life even further, if that was possible; the symbiosis of the puppeteers’ flawless portrayal of Joey’s animalistic yet stirring body language alongside Sturgess emotional delivery was exquisite.

The incredible cast also includes Diany Sambabandza (Emily and Baby Joey) and Salford’s own Ike Bennett (David Taylor and Thomas Bone).

Theatre at its best. The puppetry, stellar performances from the entire cast, and precise sound and lighting design were all on point. This feels crucial when depicting themes as significant as war and conflict, as without authenticity, it risks feeling clichéd or fabricated, rather than capturing the real events that took place and honouring the real people’s lives that were cut short.

War Horse runs at the Lowry (Lyric Theatre) until September 28 2024 and tours the UK and Ireland until November 8 2025.

Photo: Brinkhoff Mögenburg