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Pictures: Brinkhoff-Moegenburg War Horse The Alexandra Theatre ***** When Author,
Michael Morpurgo first heard that his 1982 book War Horse was being
adapted for stage, his initial response was ‘they must be mad’.
He needn’t have worried. Nick Stafford’s superb adaptation maintains the
emotional heart of the story whilst making it fit perfectly to a theatre
space. Premiering at The National Theatre in 2007, the
play has toured the world to huge acclaim and continues to pack theatres
wherever it goes. The story, made even more popular by Spielberg's
2011 movie, follows the journey of a young horse (Joey) from his Devon
Farmstead to the War Fields of France as part of the First World War
effort. It's a journey into hell, dragging artillery through fields of
mud and stench whilst men and other horses lie dead in every direction.
Amongst the horror, there is hope and real tenderness as relationships
are formed and loyalties strengthened. This is quite simply an astonishing piece of
theatre. Let's start with the technical side. A bare stage with a strip
of white backdrop overhead conveying animated graphics to support the
action onstage, creating movement and location seamlessly. A sumptuous
soundtrack that gives an almost filmic quality. Lighting that cleverly
draws characters out of the shadows and pulsates into explosive action
when the fury of war is unleashed. And then, of course, there is the extraordinary
puppetry. The two horses, Joey and his friend Topthorn are life size
creations operated by puppeteers. (Joey: head - Tom Quinn, heart - Lewis
McBean, hind - Michael Larcombe. Topthorn: head - Tea Poldervaart, heart
- Robin Hayward, hind - Gun Suen) 
Head movements, breathing, tail wagging, rearing
up on back legs . . . all beautifully carried out. The puppeteers are
not hidden away - they are very much present, dressed in 1914 costume,
almost as though they are looking after their horses rather than
operating them. After a while, you just focus on the horses . . .
completely believing in and investing in their journey Alongside Joey and Topthorn, other ‘animals’ add to the picture. A belligerent goose, swooping swifts, blood thirsty crows . . . even more horses to add to the sheer scale. And merging fluidly amongst them a big company of hard working, multi role actors taking on the villagers, army officers, family members . . . Scenes are given sung narratives by the excellent
Sally Swanson as The Singer, setting up the progression of the story
with delicious, folk melodies that add real tenderness to the tale. There are moments of light relief to punctuate
the grim realities of war. The goose that keeps missing its chance to
get through the front door, the Geordie and the German trying to work
out what each other is saying. The Windsor Davies type Sergeant giving
it proper welly. There is real warmth too in the strength of the
relationships. Loyalty, Love, Devotion . . . all there in spades.
But it’s the sheer, jaw dropping power of the story telling that makes
it such an accomplished and watchable piece of theatre. Every element works perfectly, combining state of
the art technical aspects with glorious storytelling. At times, the
visuals are breathtaking. From Devonshire fields in the Spring to the
ravages of war in foreign fields, it's impossible to take your eyes off
what is happening onstage. Explosions, sudden flashes, distant gun fire
all ramped up to full volume to give the full effect. There is even a
tank...not a sentence I’ve often used in a theatre review Engrossing, powerful and utterly engaging. This is theatre at it’s very, very best. Directed by Tom Morris with revival director Katie Henry, Joey will be at war on the battlefields of the Alex to 19-07-25. Tom Roberts 13-07-25 |
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