War Horse Review
The story of War Horse begins at the outbreak of World War one. Joey, young Albert’s beloved horse, is sold to the cavalry and shipped to France. He is soon caught up in enemy fire, and fate takes him on an extraordinary odyssey, serving on both sides before finding himself alone in no man’s land. But Albert cannot forget Joey and, still not old enough to enlist, he embarks on a treacherous mission to find him and bring him home.
War Horse is, it seems, unique. Unique in that it draws on the collaborative genius of puppeteer, scenic artist, actor, musician and choreographer to conjure living, breathing mountains of horseflesh out of carved wood and gauze and leather.
Nothing can prepare one for the extremes of emotion that such awe-inspiring puppetry on such a huge scale can produce. As horses lie slain in battle, or haul military hardware through muddied fields, our responses are as visceral as their suffering seems tangible. On every level War Horse plays on the emotional heartstrings, combining our nation’s love of the horse with our collective awareness of the futility of the First World War when the island’s youth sacrificed their lives and futures for the sake of European power-politics. War Horse recreates this horrific world, adding just enough sentimental hope to relieve the overwhelming despair of the wartime moment.
The success of the production primarily lies with the amazing animals and birds that appear onstage or flying through the air. The movement of these creatures is stunningly recreated. Toby Sedgwick’s simple title as director of horse choreography belies the astonishing artistic achievement of this movement. Sedgwick has fashioned a masterpiece of equine movement which complements the wizardry of Basil Jones and Adrian Kohler’s direction of puppetry. Marianne Elliott and Tom Morris, the overall directors of the production, could not have been better served. Likewise, Adrian Sutton’s haunting music, assisted by the inimitable folk-charm of John Tams as songmaker, adds a new dimension to a narrative already thick with imagery and theatrical magic.
The show has adapted perfectly well to the New London stage, but, in essence, it signifies a return to the Victorian theatre of spectacle
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