Michael Morpurgo’s novel “War Horse” was, surprisingly, no great success when first published in 1982. Inspired by the first-hand experiences of a bloke the author had met down the pub, its gritty realism might have been too strong for the Young Adult audience at which it was aimed, though the story is laced through with narrative threads resonating themes of loyalty, communication, hope and courage. Then in 2007 the story was dramatized for the National Theatre and the sheer stage magic of this adaptation has secured its staggering popularity ever since. Everyone concerned with that production seems at some stage to have considered facing the challenges it posed as little short of an act of madness. The problem was not just that one central character, Albert, is a teenager who has left home for the muddy battlefields and constant danger of trench warfare in World War I, but that the other key role is his horse, Joey. No animal fantasy here – the point is that Joey is a real horse (among several others on stage) but has a role far too complex to be played live by an animal (and unlike Steven Spielberg’s 2011 movie version, couldn’t compensate by employing CGI).  So yes, it’s all done with puppets, which are simply fantastic. Horse-sized frameworks, covered not with realistic hair but webbing and strands whose patterns evoked speed and energy, each required three puppeteers to manipulate and inhabit them, bringing a scarcely credible range of stance, character and movement to their equine incarnations. Acting was good, singing by Sally Swanson was rich and rousing, graphic projection effects were beautifully designed but let’s face it – on this welcome revival tour it will be those remarkable horses that draw in the punters (though the goose certainly deserves a mention.)

Gail-Nina Anderson