Every once in a while, there are timeless classics that come along and demand attention from the very first spoken word or scene. War Horse is one such example. An original National Theatre production from almost two decades ago, the story here is adapted by Nick Stafford from Michael Morpurgo’s tale. It centres around a boy who has an unbreakable bond with his animal, despite the horrors of war creating disconnection and darkness.

Albert's Casting Perfect in War Horse

The casting of Tom Sturgess as Albert is an absolute stroke of genius. He owns the part and makes every affectation towards his favourite horse, Joey, believable and moving. There is a bond between the two, but there is also a spark between Albert and the audience delivered via Sturgess. However, the joy of a young foal enjoying the Exeter countryside with his best human friend is soon shattered by the outbreak of World War I.

Mother Rose, played tenderly and firmly by Jo Castleton, offers a mother-son relationship that encompasses humour and human kindness. In the background is a distant drunken father (Karl Haynes) whose propensity to strike out and make selfish decisions corrupts the family dynamics. Albert is mortified to learn that Joey has been sold behind his back to the British Army.

Puppeteers Create Amazing Horse Mechanics in War Horse

The adventures begin, and so do the pyrotechnics of the fabulous Handspring Puppet Company. The movements behind Joey and the other “star” horse Topthorn are controlled by an aggregate of 13 puppeteers across the performances. However, there is nothing unlucky about the outcome. The movements are precise and seamless, and the feet and hands of the humans operating within are not a distraction at all. They are horses, not pieces of wire or wizardry. That’s all that counts.

Albert Goes to War to Find Joey

There are some fantastic sequences, driven by live sketch animation, of horses running free. The change from the green fields of England to the sodden sounds of the Somme is done effectively. Now Joey needs to jump over barbed wire or find a way through it. Albert is so determined to be reunited with the horse that he signs up for service despite being well under age.

Humour Used Superbly in War Horse

Sally Swanson’s singing narration is a neat touch and offers a wistful kind of break to the heavyweight wounds to our emotions as men – and horses – rise and fall on the battlefield. Director Tom Morris and revival director Katie Henry have cut the piece into two parts of approximately an hour each.

This works well with the intensity punctuated by some nice touches, like the gentle ribbing of British military leadership. There's even the British and German bonding scene laced with comic confusion as they try to haggle over Joey. It’s not a play about sides. It’s a story of how loss can be necessary to find something deeper than desire.

The denouement is nicely played out with Albert’s injuries making him temporarily blind to images, but not to the touch and feel of his greatest friend. The scene isn’t overly sentimental and wraps up a splendid play.

War Horse is on a UK and Ireland tour and runs to 16 August at New Wimbledon Theatre.

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War Horse Review: New Wimbledon Theatre