Review: War Horse (Olivier Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

National Theatre have had no shortage of highly successful productions over the years, with West End transfers, Broadway runs and tours a common occurrence. However, their most successful production remains 2007's War Horse. Just shy of its 20th anniversary, it gallops back to the place where it all began with a long-awaited homecoming at the Olivier Theatre. As the saying goes, “You can lead a horse to water…” and what worked 19 years ago may not necessarily have the same impact today, but would this welcome return prove any of the naysayers wrong?

Michael Morpurgo’s original children’s novel was released in 1982, with the world premiere stage adaptation of War Horse debuting in 2007. Since then, the production has enjoyed a West End run, productions all over the world and a film adaptation. It tells the story of Albert Narracott and his horse, Joey. When Albert’s father brings the horse home, Albert immediately forms a strong bond, doing whatever it takes to keep him and promising they will always be together. However, it is 1914, and Joey is sold to an officer for the war effort. What follows are two separate journeys during the war as Albert desperately tries to find his beloved horse and reunite with him before it is too late.

Though War Horse has wowed almost 9 million people in productions all over the world in the last 19 years, it took me until last year to see it for the first time. Walking past the theatre during its initial West End transfer, I used to misguidedly think “This isn’t for me” and how wrong I was. When I commented, I was seeing this for the first time on tour last year, and I was met with a series of messages saying it is the best thing they’ve ever seen and to prepare myself. Those were some strong words, but it didn’t take me long to understand why it has had such a huge impact amongst theatre lovers, and just humans in general. I fell in love with the story immediately, and kicked myself that I had missed it for all those years. There was something special about the news that it was coming home to where it all began, so I wasted no time in planning a return trip, and boy, am I glad I did. As much as I loved War Horse the first time around, I think I loved it even more this time.

Perhaps that is down to knowing how the story ends that made me appreciate the journey all the more, though that didn’t stop the tears falling at a certain point near the end. My tried and tested statement is “Theatre at its best can make you feel”, and War Horse is a beautiful example of that. Ultimately, with any show, you are looking for a story you can invest in and a production that provides complete escapism. War Horse does this better than most - you might not think a puppet horse could provoke such strong emotions in a fully grown adult, but you would most certainly be wrong. Be it joy, relief or sorrow, this story may be about a horse, but it is as human as it gets.

That is largely down to Nick Stafford’s emotive and beautiful adaptation. Taking the essence of Michael Morpurgo’s original story, Stafford allows audiences to go through a whirlwind of emotions, taking them on a rollercoaster ride. With moments of humour and a whole lot of heart, the beauty in the writing of War Horse lies in the simplicity of its central themes. It may be about a boy and a horse, but that love could be between anyone and anything, with the desperation to see someone or something you love again, and a determined refusal to let it go, something many of us can surely relate to. It also speaks about growing up, with Albert’s necessity to go from a boy to a man in the harshest of environments. Though it is set in 1914, its attitude on war still rings every bit as true today, with one particularly poignant moment between two enemies late in the play breathtaking in its execution, using initial comedy to segue into a touching moment that essentially asks the age-old question, “Why can’t we all just get along?”

If Stafford’s writing sets the scene, the direction completely realises it in wondrous fashion. Originally directed by Marianna Elliott and Tom Morris, with Morris and Katie Henry directing this production, the creativity employed always proves thrilling to see, with an intricate use of world-building and getting the right balance of imagination, escapism, childlike wonder and fantastic stage trickery. From the thrilling gasps when a fully-grown Joey appears on stage for the first time to the detailed ways aspects of war are recreated on stage, War Horse proves consistently captivating in every moment, no matter how grand or intimate it is. It is these smaller moments that prove a testament to how remarkable this production is, penetrating the hearts of audience members in a way most shows could only dream of.

Rae Smith’s set design has become as synonymous with War Horse as Joey himself, with her instantly recognisable design coming to life through her own drawings to stunning effect. With a striking use of lighting from Rob Casey and projection design from 59 Studio, War Horse is always every bit as riveting visually as the story itself. That is elevated further through Toby Sedgwick’s movement direction and choreography, filling a big stage with a big cast and letting the impressive result speak for itself.

No review of War Horse would be complete without mentioning the puppets. Yes, they are puppets and not real horses, though it is a testament to everything involved in this production that you are able to suspend your disbelief and forget there are actually people operating these horses. Adrian Kohler’s original puppet design has seen the image of his stage horses become as iconic as the show. Matthew Forbes’ puppetry direction uses these expert tools to give Joey and Topthorn personalities of their own, not to mention a certain scene-stealing Goose. It is possibly the best puppetry you will see in a theatre, and is certainly distinct in its approach, with faultless execution allowing for a truly mesmerising watch.

It isn’t all about the horses, however. The humans hold their own against these amazing puppets and the talented puppeteers (twelve of them in rotation), bringing them to life. The humans are led by Tom Sturgess in a beautifully tender performance as Albert Narracott. Sturgess effortlessly taps into the innocence and initial naivety of the character, gradually changing into the man we see by the close of the play. Sturgess’ performance is captivating through his understanding of humanity shining through as well as the love he has for Joey. Though some incredible actors have played this lead role before Sturgess, he more than matches the high standard of his predecessors in a spellbindingly good performance.

Manuel Klein is another highlight as Friedrich Müller, bringing an unexpected turn to the story with a sympathetic performance. Elsewhere, Stephen Beckett gives an understated and suitably cold performance as Albert’s father, Ted, with Jo Castleton providing a refreshing counter to this as Rose. Ike Bennett is a standout as David Taylor, with Damian Lynch delivering a memorable turn as Sergeant Thunder. Sally Swanson gets some gorgeous moments as The Singer, with the use of music in War Horse always delivered to beautiful effect. Her lead vocals are often accompanied by the full cast joining in, which is an incredibly impactful sound that proved spine-tingling in places.

War Horse got people talking when it premiered at the Olivier Theatre 19 years ago, and that conversation hasn’t let up in the decades since. Though much has changed in the world and in theatre in that time, War Horse still stands heads and shoulders above many of its counterparts, proving every bit as relevant and powerful now as it would have been back in 2007. Sometimes repeat visits to shows reduce the ultimate impact and perhaps even overall enjoyment, but I’d argue War Horse lends itself well to repeat visits, with more understanding and elements taken from the story on a second watch. That was certainly the case for me, anyway. I was blown away with my first visit last year, but there was something incredibly special about watching this timeless tale on the Olivier Theatre stage. War Horse really is a beast of a show, and one that deserves its place in history. You’ll laugh, you’ll cry, and, most importantly, you’ll feel. That is everything theatre should be able to do, and War Horse is a fine example of theatre at its best.

War Horse plays at the Olivier Theatre until 30th July. Tickets from https://www.nationaltheatre.org.uk/productions/war-horse/

Photos by Brinkhoff-Moegenburg