Review of ‘War Horse’: “Galloping poignancy at an almost steady trot”

Nick Stafford’s acclaimed theatrical adaptation of Michael Morpurgo’s novel returns to the UK and Irish stage with the National Theatre’s latest touring production, currently playing in Oxford until the end of the holiday season. Guillermo Nazara shares his views on the show, to let us know if this new theatrical run ends up deserving to be bridled at.

I once read that no human is fully complete until their heart falls for another animal. That might, in fact, be one of the truest paradoxes that define how we really are. So many works of art have explored that notion to a greater or lesser extent. And besides just a few unsuccessful (and rather confusing) attempts, with the highlight of a talking dog as a romantic Mexican telenovela sidekick (I’m not joking – that happened, and what’s worse, we let it happen…), the final outcome for any animal-led story always tends to be the same: no one else can move us in such a pungent and striking way as they do.

War Horse has already proven that ability to millions of viewers all around the globe. Over 15 years after its first theatrical incarnation, this equestrian portrayal of the tragedies (but also hopes) of World War I has literally swept nations through its sentimental charm and narrative grip – bringing back, with remarkable tangibility, the complex events one of mankind’s most devastating conflicts through a simple, an extremely moving tale of a young man and his beloved beastly friend.

Based on the Michael Morpurgo novel, Nick Stafford’s adaptation relives now all across Ireland and the UK stage – with the touring production currently building its settlement at the New Theatre Oxford until the start of the New Year. With a premise relying on such a bellicose background, you might expect the piece not to be the most suitable option for the Christmas period. And you may be right, to some level. If you just wish for an easy, feel-good winter wonderland spectacle, then by all means lope pass the venue. But if you are actually looking for something as emotionally powerful as very few montages have ever been before, as well as saliently thought-provoking, then your choices might be reconsider.

Structured as a play with songs, the show flaunts almost impeccable robustness when it comes to its pathos. It just stirs you with astonishing effortlessness; and genuinely, in the most magical way. There are some small flaws in the script: the pacing is not the best at some moments, especially during the first half of Act Two; and sometimes, the use of humour seems a bit oversaturating and misapplied. Yet, for some incomprehensible reason, all of those issues can be easily forgiven due to the extraordinary sharpness of its execution. Want it or not, you’ll find yourself shedding a tear or two scene after scene; and in a very similar manner, you’ll end up loving more than you’ll initially be willing to admit.

There’s far less to critique in relation to its scenic design, which in all honesty, is basically superb. A long, paper-rip-shaped screen hovers over its otherwise empty black-box scenery, as ink-drawn animations emerge to drag us into the piece’s setting. Traditional, studio-like lighting pours in, as the montage’s grand asset is materializing in a flash of ocher-toned beams: a towering, life-size horse puppet neighs centre-stage, as the production’s visual force kicks in with unapologetic majesticness. The rest requires very little explanation. Every decision is tremendously clever and hugely theatrical – appealing to every strength of the media, and reasserting its position as an absolute and unique experience.

As for the cast, the troop (you were waiting for that one) does a rather excellent job at bringing a sense of flow and togetherness all through the jaunt. There are, nonetheless, a few portrayals that don’t completely land, but they are excused thanks to the truly satisfactory performance of most of its leads.

Among them, a first mention is earned by Gareth Radcliffe in the role of Arthur Narracott, through his realistic rendition as the drunk, abusive father whose everyday struggles and pathetic ingenuity serve as some kind of redeeming feature. Yet, the highest praise goes to Tom Sturgess as protagonist Albert Narracott – giving an exceptional approach to his character by providing him with so much subtext in his delivery, all that the script fails to convey is anyhow preserved through his insightful, though-provoking interpretation.

Taking its audience on an occasionally harrowing but generally inspiring and highly rewarding ride, War Horse manages to pull from the viewer’s heart’s reins without ever feeling excessively sentimental or overdramatic. While perhaps lacking a very thin additional layer of narrative elaborateness, the piece is nonetheless a showcase of masterful storytelling and visual loftiness. It races into your emotions with unblemished skillfulness – and from then on, the bond becomes eternal.

All pictures credit to Brinkhoff-Moegenburg.

War Horse is currently on tour across the UK and Ireland. Tickets and venue and dates information are available on the following link.

By Guillermo Nazara