Bringing extraordinary puppetry and devotion to the front lines of war.
One of the most acclaimed plays of the last 50 years has made its way to Leeds this week, and I was eager to see whether it could still live up to the hype.
War Horse, adapted from Michael Morpurgo’s novel by Nick Stafford, returns to UK stages in a powerful new tour. Set in rural Devon and across the battlefields of the First World War, the story follows young Albert Narracott and his horse Joey, whose bond is unbreakable. When war breaks out, Joey is sold to the cavalry and shipped to France, thrust into the horrors of battle. Determined to find him, Albert—still too young to fight—lies about his age and embarks on a perilous journey of courage, hope and endurance.
As promised, the puppetry was absolutely stunning: fluent, lifelike and beautifully executed. I have seen productions use powerful puppetry before, such as The Lion King and Life of Pi, but the creation of the horses here was utterly spellbinding, capturing realistically the delicate movements of the majestic animal. The human puppets used in the battle scenes were less effective, appearing corny at points, but they didn’t distract from the overall powerful impact of the distressing scenes.
One element that stood out in the battle scenes for me was just how horrific it was to witness on stage the shift in tactical warfare as Europe moved from the Boer War in the 19th Century to The Great War in the 20th. The horror came from watching just how far behind Britain was at facing the change in technology, seeing men being forced to walk across no-man’s land rather than run, as we viewed horses and men alike cut down by indomitable machine-gun fire. These were the points that really left me sobbing in my seat with the sheer futility of it all.
Multi-media is being used ever more in productions, and this is one show that uses it particularly well. I loved the consistently hand-drawn animations on the back wall that set the era and the atmosphere, especially helping to illustrate the barrenness of the battle-scarred war zone: it added a creative touch to the staging while also grounding the production in realism.
The live music was another highlight for me. This is by no means a musical, but live folk singing was woven throughout, evoking the Devonshire countryside and emphasising the innocence of the people whose lives were shattered by war. The live bugle call from the balcony during the first combat scene was especially powerful, lending a chilling authenticity that no recorded track could replicate. On the other hand, the pre-recorded music during battle sequences grated on me, feeling tinny, flat and corny, like something from a 1990’s video game. What the production desperately needed was the immediacy, ambience and power of a live orchestra. There is simply no substitute for live music and the emotional punch it delivers, as this production proves.
Even as someone who has never owned a horse, I was deeply moved by the relationship between Albert and Joey. Their connection was tender, convincing and ultimately heartbreaking, with excellent acting from Tom Sturgess. I also particular loved the character of Friedrich (Alexander Ballinger), his role allowing us to see the Germans not as the enemy but simply as fellow men, fighting for what theyve been told is right.
Throughout the production, there were a few moments of exaggerated acting that went against the tone of the production. I couldn’t help feeling the show might have been better in a more intimate setting, perhaps allowing the acting to be more realistic. Albert, however, was exceptional, which was what the play relied upon—his devotion to Joey being powerfully conveyed. Ultimately though, the performance is stolen by the exceptional skills of puppeteers. The puppetry direction (by South Africa’s Handspring Puppet Company) was sublime; the movements so realistic and the artistry so precise, that you forgot the puppeteers were there at all – a true testament to their abilities.
Although War Horse tells a harrowing story of loss and waste—where soldiers die following outdated tactics, advancing over no-man’s-land into modern weaponry like machine guns and barbed wire—it is also a story of hope and love. Amid the brutality, moments of humanity shine through, reminding us of resilience, compassion and faith in one another.
This is not a light-hearted evening at the theatre, but it is a profoundly powerful experience: cathartic, moving and unforgettable. It may not be a perfect production, but it is most definitely unique and deeply emotional. It’s important that theatre like this is observed, especially during the times in which we are living, so that we can all see the true cost of warfare and prevent history from repeating itself.
https://leedsheritagetheatres.com/whats-on/war-horse-2025
We couldn’t let you miss the following images by Ant Robling that further illustrate the dedication of puppeteers and cast.
Puppeteers
Joey
Head – Tom Quinn
Heart – Lewis McBean
Hind – Michael Larcombe
Topthorn
Head – Tea Poldervaart
Heart – Robin Hayward
Hind – Gun Suen
Joey as a foal
Head – Jordan Paris
Heart – Eloise Beaumont-Wood
Hind – Clara Lioe
Puppetry Design/Fabrication by Adrian Kohler For Handspring Puppet Company
This production is directed by Tom Morris with revival director Katie Henry.
Main image Rianna Ash Chris Milford Thomas Goodridge Topthorn Matthew Lawrence, Rafe Young , Donnelly Joey in War Horse.
All photography by Brinkhoff-Moegenburg.
