It is not often a production is so perfect that you struggle to write a review that does nothing but compliment every member of the creative team and cast, but alas- this is what to expect from this review of War Horse. With direction from Tom Morris and revival director, Katie Henry, this tour is currently playing at The Lowry in Salford before continuing its third gallop of the UK- I promise that’s the only horse pun.

Deemed one of Britain’s “best theatrical exports”, it is clear from the off how this National Theatre production is favoured by so many as a juggernaut in theatrics and a visual masterpiece from start to finish.

Based on and faithful to the 1982 novel by Michael Morpurgo (who originally thought the idea was “mad” to adapt his work into a play), War Horse tells the story of Joey, a foal auctioned for an exorbitant amount in Devon, 1912. What ensues is a love story of devotion and unconditional love between Joey and his young companion, Albert Narracott (Tom Sturgess) with masterfully layered story arcs of humanity- ironic during the World War 1 setting.

Sturgess gives a stunning performance as Albert, showing the real-time growth in character development from a young teenager to a man in the midst of battle.

Many of the ensemble multi-role throughout: from members of platoons to village people, each bringing the production to life.

The beating heart of the play, however, are the puppeteers in charge of Joey, Topthorn (another battle horse) and, much to the amusement of the audience, a silly goose from the Narracott farm. There are twelve puppeteers on this tour who play the life-sized animals in rotation. For this performance we had Diany Samba-Bandza, Jordan Paris, and Eloise Beaumont-Wood as foal Joey. Rianna Ash, Chris Milford and Thomas Goodridge as Joey, and Matthew Lawrence, Rafe Young and Felicity Donnelly as Topthorn.
Each puppeteer has one of three roles per horse as head, heart and hind, and it is captivating from the off. Every last detail has been meticulously crafted by Handspring Puppet Company and with each of the performers bringing the animals to life- I never thought I would be so emotionally invested in a puppet.

Rae Smith’s design throughout not only allows a seamless narrative, but the ability to use a sparce backdrop to build depth on the stage and used to the advantage of both concealing and revealing is magic.
Video projection is also well used above the stage throughout, stylised as a torn piece of sketchbook, it creates the perfect canvas to propel the narrative. Props are purposefully used and fused perfectly with the puppets to create some of the best theatre I have had the pleasure of watching. The space throughout the theatre is also utilised well with performers appearing in the circle and the stalls, creating an immersive atmosphere. With lighting design from Rob Casey, the horses are illuminated throughout and I don’t think I have ever seen lighting design more well-accomplished.

Sound design from Christopher Shutt was immaculate and along with music from Adrian Sutton and songs from John Tams, created a pin drop atmosphere that pulled the emotion to precisely where it needed to be. Songs sung by Sally Swanson (aptly named The Singer), were haunting and helped to set the scene, build suspense and beautifully stitched the narrative together.

War Horse is theatrical gold and gives the production value that many shows could only dream of. Don’t run but canter to the theatre to see this phenomenon whilst you can! (One more pun can’t hurt, right?)

Playing at The Lowry until Saturday 28^th September, further information and booking details can be found here.

Tickets gifted in exchange for an honest review.

Photography by Brinkhoff-Moegenburg.