Review: War Horse, New Wimbledon Theatre

It’s a challenge to review a show that’s already had success, and this is particularly prevalent as I take my seat at New Wimbledon Theatre for War Horse; another packed theatre for the production that, the programme states, 8.3 million people have now seen. I was once lucky enough to meet Joey, the horse protagonist, at the National Theatre Live screening at a Curzon Cinema when they brought him out to meet us in person afterwards. There wasn’t a flicker of doubt that a real horse had entered the room as we tentatively approached. This is the magic of the show, as a puppet soon becomes flesh and blood.

Of course, much of this magic stems from Michael Morpurgo’s story, a book that didn’t originally see much success – first editions are incredibly rare as so few were sold! Luckily, Director Tom Morris’s mother suggested he read the book 25 years later, and he saw an opportunity to bring the story to life with Handspring Puppet Company. What they achieved together is nothing short of remarkable, and with Revival Director Katie Henry, this latest production exceeds all expectations.

Whilst the emotional finale of the show leaves barely a dry eye in the house, it’s also the intricate details that bring tears to the eyes. Swifts soar through the air as we’re brought to Devon. A large screen, resembling a ripped sheet of paper, features beautiful animated illustrations, slowly shifting with the movement of time, alongside lighting evoking time of day and passing seasons.

We live many months with Joey and Albert before the horror of war begins. We get to know and love them, and the surrounding Devon landscape. Sally Swanson completesthe transportation, performing folk songs by John Tams and Adrian Sutton with such beauty, you’ll find the tears falling before a gunshot is fired.

Despite its sentimentality, War Horse doesn’t shy away from the horrors of war. The production is truly epic, with battle scenes that feel giant despite the relatively small cast. A tank scene is particularly impressive, filling the stage and striking fear in your heart. Lighting and sound work incredibly hard to recreate the Somme. The screen that once celebrated the idyllic Devon countryside now fills with chaotic sketches of barbed wire and shots that perfectly line up with the onstage artillery and echoes the silhouettes of actors as soldiers tentatively go over the top. It’s a horrific yet mesmerising spectacle and brings the terror of the trenches to South West London.

At the heart of the horror is Joey and Albert’s relationship: a War Horse and his friend. Tom Sturgess is made for the role of Albert, with his loveable charm and earnest mannerisms as he raises Joey into a magnificent creature. He is perfectly complemented by Joey, a truly remarkable puppet from Handspring, with three puppeteers bringing him seamlessly to life, Rianna Ash at the head, Chris Milford at the heart and Samuel Parker at the Hind.

The show is full of tender moments, but some of the finest are between the two horses, Topthorn and Joey. Topthorn, brought to life by Tom Quinn at the head, Michael Jean-Marain at the heart and Michael Larcombe at the hind, is at first superior to our loveable Joey. But the way those two bond is remarkable, and despite the puppeteers being mostly visible throughout, there’s no doubt that we’re watching real horses on stage.

War Horse is a testament to the power of puppetry, how can three humans and some beautifully constructed pieces of metal create a living breathing creature? It’s truly sensational. Now, someone, please get me a tissue.

Based on the novel by Michael Morpurgo
Adapted by Nick Stafford
Directed by Tom Morris with revival director Katie Henry
Puppet design and fabrication by Adrian Kohler for Handspring Puppet Company
Lighting designed by Rob Casey
Movement and horse choreography by Toby Sedgwick
Puppetry direction by Matthew Forbes

War Horse is at the New Wimbledon Theatre until Saturday 16 August. It then continues on tour until Saturday 8 November.