Review: War Horse Gallops Back to Sunderland Empire
Living North's Arts Editor discovers that the National Theatre's internationally-acclaimed production of Michael Morpurgo's War Horse is as moving as ever on its return to Sunderland Empire
The Royal British Legion’s Poppy Appeal are collecting donations when we get to the theatre and we stop to each buy a poppy before taking our seats. While I love the book and film, I’m ashamed to say I’ve never seen the War Horse theatre production. My partner, who is joining me for this show and has served in the British Army since seeing the production in London, tells me it’s one of his favourites.
Two years ago I fell in love with puppetry during a production of Animal Farm in Newcastle (featuring puppets made by a puppeteer who played Joey’s hind legs in the early production of War Horse) but I’m told the puppets in this show are on a whole new level. Act one begins and we meet Joey as a foal, and his puppeteers Diany Samba-Bandza, Jordan Paris and Eloise Beaumont-Wood bring the beloved horse to life. It’s truly amazing how quickly you no longer notice them and see only Joey thanks to their well-practised and percently-timed movements.
The clever use of lighting in the production is unlike anything I’ve ever seen, with a huge ensemble appearing from darkness and camera flashes creating freeze frames. I’m almost brought to tears when foal Joey is replaced by a huge puppet manned by Rianna Ash (head), Teessider Lewis McBean (heart) and Michael Larcombe (hind). Anyone who doesn’t admit to instantly falling in love with Joey from that point is lying.
The way this trio move Joey’s ears, tail and legs is so skilful and it’s what gives Joey his playful character, whilst also conveying every emotion he feels. That goes for Topthorn too, a beautiful black horse who’s just as majestic as Joey. When Topthorn dies, the three puppeteers sympathetically lay down the puppet and step away into the darkness. It’s a harrowing moment.
More fantastic puppets from South Africa’s Handspring Puppet Company come in the form of a cheeky goose in act one, a ginormous tank in act two, and birds and crows throughout. A torn page (we imagine from the sketchbook Albert receives from war) hovers above the cast, projecting images to convey the action in the show. One particularly poignant moment sees bloodshed turn to poppies during a heart-wrenching scene.
The character Geordie goes down a treat with the Mackems when the orchestra pit becomes the trenches, and a Geordie soldier and German soldier come together to rescue Joey in act two. It’s a very moving scene with hints of humour sensitively woven in. Above all this, Tom Sturgess shines just as bright as his horse in a triumphant performance as Albert. We see him grow and mature, feel his pain and heartbreak, and in the final scene when Joey and Albert are so close but can’t yet see each other, emotions in the room are high.
The audience, members of the public of all ages and members of the Forces, take to their feet to applaud Tom, the puppeteers and the rest of the cast – even that cheeky goose (who adds hints of humour to this powerful production) receives an applause of its own.
