War Horse – Review of Bristol Hippodrome performance Tuesday, June 3.

 

This production of War Horse was directed by Tom Morris with revival director Katie Henry and was based on the book by Michael Morpurgo.
War Horse explores themes of love, loss, loyalty, and the special bond between humans and animals.

It does not shy away from the horrors and brutality of the WW1first, and I can see why there was a 10+ age rating.

It is heart-wrenching to see the suffering of Joey in the war, but also that of the soldiers.
The fact that it was based on real life added to the impact of the story.
There were cleverly placed humorous moments too which provided moments of respite from the darkness of war.​

The cast were outstanding, and it is hard to single out a performance, however Tom Sturgess who plays Albert Narracott was captivating.

We felt his pain when Joey was sold, and his total determination, first to train Joey to plough, and then to find him on the battlefields.
There were so many outstanding moments in the play, but the standout scene for me was where Joey becomes trapped in barbed wire in no-man’s land, and in real pain.
The way in which this was choreographed by Rianna Ash (the head of Joey) was astonishing.

The emotion and pain between her and Joey were as one.

It was the most powerful and heart-wrenching scene.
Then soldiers from both sides see that Joey is trapped and two men work together to help him.

There is such humanity and hope in their brief friendship until Joey is freed, when they go back to their respective sides and we feel the total waste and futility of war.

The props were minimal, but this made the puppeteering and performances even more mesmerising.

The backdrop had a strip torn out with animated sketched scenes and images in the style of the era projected onto the strip.

Lighting was used brilliantly to enhance the scenes, especially the war scenes.

There was one tragic event during a cavalry charge in France in which many men die, that brilliantly used a combination of lighting to show the scene is slow motion and the allowing the audience time to digest the horror of what was happening.

The costumes of the cast reflect the historical period of WW1.

They looked very authentic – particularly the soldiers’ uniforms.

They all added to setting the scene.

The puppeteers were dressed in farmworker costumes which blended in, but they were not disguised.

Within moments they disappeared and all you saw were the horses.
Rianna Ash, Chris Milford and Thomas Goodridge (who portray Joey) – Tom Quinn, Lewis McBean and Michael Larcombe (who portray Topthorn) and - Eloise Beaumont-Wood, Diany Samba-Bandza and Jordan Paris (who portray baby Joey) are literally masters in puppetry
Their precision and skill brought animation and life to the horses, whose ears twitched, tails flicked, they breathed, and moved which such authenticity it was magical.

The team-work and communication between the puppeteers was faultless.
There were other notable puppets such as the goose, whom the audience loved and always got a laugh, plus the crows who brought the grim, brutal reality of death to the audience by landing on recently fallen men.

Sally Swanson provided music which was hauntingly beautiful.

It provided real atmosphere and emotion to scenes.
There were many times when you could not hear a pin drop and what I really noticed was the totally stillness of the audience.

They were so completely emersed and totally consumed by the experience.
Rose Narracott’s character got laughs from the audience with her delivery of lines and interactions with the animals – particularly the goose.
There were many emotional scenes and many tissues on display throughout the production.

Particularly the sale of Joey, and the reunion scene.

You get so attached to the horses.

They are completely real to you.
The audience was on its feet almost before the performance ended such was the appreciation of the show and it went on until the very end. Absolutely outstanding - truly unforgettable experience.

Julie Downing