There are moments in the theatre that feel utterly spellbinding – when the stage disappears and you are immersed in another world. War Horse, now touring the UK and currently playing at the Theatre Royal Nottingham, delivers two hours of exactly that: theatre that transcends its form to tell a story of raw human emotion, heart-wrenching sacrifice, and astonishing creative vision.
Adapted by Nick Stafford from Michael Morpurgo’s beloved novel, and directed by Tom Morris with revival director Katie Henry, this new production honours the legacy of the National Theatre’s most successful play while breathing new life into its story and spectacle. It has already captivated over 8.3 million people worldwide — and judging by the Nottingham audience’s rapt attention and standing ovation, it continues to leave its mark.
At the heart of War Horse is the deeply personal journey of Albert Narracott and his horse Joey, set against the vast, traumatic canvas of the First World War. Tom Sturgess is superb as Albert — wide-eyed, fiercely determined, and profoundly moving as the young Devon farm boy who defies all odds in a desperate quest to reunite with his beloved horse. His performance grounds the production emotionally, providing a powerful human anchor in a world ravaged by war.
Equally impressive is Karl Haynes as Albert’s father, Ted Narracott, whose bluster and bitterness are played with subtle vulnerability. Alexander Ballinger as Friedrich Müller, the kind-hearted German officer who befriends Joey on the battlefield, adds layers of compassion and conflict, offering a reminder of humanity that transcends national boundaries.
But the most remarkable achievement of War Horse — and what continues to set it apart from almost anything else on stage — is its puppetry. The horses, created by the visionary Handspring Puppet Company, are astonishing. Joey, Topthorn, and the foal version of Joey are each operated by teams of three puppeteers who synchronise every twitch, breath, and stamp of a hoof with such detail and precision that the boundary between puppet and living animal is effortlessly erased.
On press night, Tea Poldervaart (Joey – head), Robin Hayward and Ross Green (heart), and Gun Suen (hind) delivered a flawless performance. The puppetry was so affecting that one could hear gasps and quiet weeping during moments of trauma and tenderness alike. The bond between Albert and Joey, entirely reliant on this incredible feat of collaborative puppetry, is wholly believable and utterly devastating.
Visually, the production is both epic and understated. Rae Smith’s set design remains striking in its simplicity — sketch-like projections evoke landscapes and scenes with impressionistic flair, while minimal props and fragments of scenery allow the audience’s imagination to complete the picture. This approach gives the production a dreamlike, storybook quality that suits the tale’s origins and tone perfectly.
The lighting design by Rob Casey deserves particular praise. During the war scenes, the use of light is visceral and haunting — stark flashes mimic gunfire, figures move through mist and shadow, and bursts of red-orange light flood the stage, evoking fire, blood, and chaos. These effects, combined with subtle animations and projections by Nicol Scott, ensure the transitions from peaceful countryside to brutal battlefield are deeply affecting.
Music is woven throughout, both diegetic and atmospheric, giving the show its folk soul. Sally Swanson, as The Singer, provides haunting, stirring vocals that enrich the emotional atmosphere. Her renditions of John Tams’ folk-inspired songs soar through the theatre, grounding the narrative in a rich sense of place and history.
This touring production is more than just a revival — it is a reimagining, enriched by updated design work, sharp direction, and a talented cast of 35 who work seamlessly to create a living, breathing world on stage. The ensemble work, particularly in movement and physical storytelling, is tight and evocative, guided by movement and horse choreography from Toby Sedgwick and puppet direction by Matthew Forbes.
This tour also marks significant anniversaries: 110 years since the start of WWI and 40 years since the publication of Morpurgo’s novel, now translated into 44 languages and sold worldwide. That legacy brings with it a sense of reverence and responsibility — one which this production rises to meet at every turn.
War Horse remains an unmissable theatrical experience. Its emotional impact is searing, its storytelling masterful, and its technical achievements unmatched. The audience at Nottingham was held utterly spellbound — there were moments of deep, collective silence, gasps of shock, and finally, thunderous applause and tears.
Whether you’re revisiting War Horse or seeing it for the first time, this production is a triumphant reminder of what live theatre can achieve. It doesn’t just tell a story — it makes you live it.
War Horse plays at the Royal Concert Hall until Sunday 18th May 2025 where it will continue its UK tour.
Photography throughout from Brinkhoff-Moegenburg.
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