War Horse | Newcastle Theatre Royal | 11th September 2025
Review by Stephen Stokoe
It does not matter how many times I see this production (four at the current count) I never ceased to be blown away by every single aspect of it. The technical department have worked wonders, the acting is superb, the music is dramatic, evocative and heart wrenching, and that is even before I even begin to discuss the puppetry genius.
The story written by Michael Morpurgo and adapted by Nick Stafford, is essentially about one boy and his horse but there is so much more to it than that. Arthur Narracott (is entrusted with the training of a new foal, bought at an inflated price due to his drunken father, Ned (Karl Haynes) getting auction fever trying to outdo his brother down at the market. Arthur takes an instant shine to the skittish new foal and quickly starts bonding and training his new ward.
Ted, places further demands on his son by betting his brother that Joey can pull a plough. Arthur objects because Joey is not a working horse but relents on the understanding that his equine friend will have paid his ‘debt’ to which his father agrees. Joey subsequently wins the bet and all is well until ‘The Great War’ breaks out. Unbeknown to Arthur, Ned sells Joey to the British Army for one hundred pounds. The rest of the story is concerned with Arthurs valiant attempts to reunite with his horse but as I mentioned there is a great deal more to the tale than one boy and his horse.
The story as you might expect, is not an easy watch but there are some moments to lighten the mood. Watch out for the guard goose, she is a huge character all by herself as she glides around the stage. Act two opens with a fabulous scene involving the newly recruited Arthur and Sergeant Thunder (Gareth Radcliffe), there is also a comedic but moving scene towards the end, (especially as it is currently in Newcastle) involving a soldier called Geordie (Owen Dagnall).
The stars of this production are the puppets which seems a diminutive word for these magnificent beasts created by Adrain Kohler for the award-winning Handspring Puppet Company. As you watch Joey grow from being a foal to a fully grown stallion and we are introduced to the larger black stallion, Topthorne, you really believe there are horses on the stage. They look perfect, their movements (Toby Sedgwick and Matthew Forbes) are superb and you invest in their characters and well being which makes what unfolds all the more devastating as we see these glorious animals go to war. It is noted in the programme that one million horses were taken by the British to France – only sixty-two thousand were brought back.
The skills of the puppet wranglers, especially of the two horses, is jaw-dropping and mesmorising. In sheer awe, I will name them all. When we first meet Joey, he is young and full of impish life and expertly animated by Jordan Paris, Eloise Beaumont-Wood and Clara Lioe. When he strides majestically into adulthood, his character is controlled by Tom Quinn, Lewis McBean, and Michael Larcombe and his rival and comrade in the field, Topthorn is superbly executed by Rianna Ash, Chris Mitford and Tommy Goodridge who take head, heart and hind of these magnificent equine creations respectively. I do not think there are the right words for the feelings that are engendered by this animals in the production – suffice it to say that my eyes have been decidedly moist on each occasion I have witnessed this theatrical masterpiece.
Director, Tom Morris and Revival Director Kate Henry really tap into the essence of the book and subsequent movie to bring to the stage something that is very special indeed. Their eye for detail and beautifully choreographed scene changes allow the story to flow.
Add to this, the most wonderfully evocative music written by Adrian Sutton and songs by John Tams and you get a production that is as heart warming as it is dramatic and uplifting as it is traumatic. The music flows throughout the piece effortlessly dancing through classical, folk, war songs via dramatic film soundtrack and much credit has to go to the sound designer, Christopher Shutt too.
We do not give a star rating on these reviews but were I pressed to do so then the very justifiably acclaimed National Theatre production of War Horse would get a whole galaxy’s worth.
Before I close, I cannot impress more strongly how much everybody needs to see this impeccable piece of theatre at its most imaginative, most moving, and thought provoking. Outstanding in all departments. I have one final thought for the production team, please tell me that Goose managed to get into the farmhouse to warm her feathers by the ever lit Aga.
Long may Joey remain in our hearts as a reminder of the untold cost of the human folly of war – lest we forget.