★★★★★

“Every part is played with truth and passion, the cast make us feel, even cry at times”

The National Theatre’s new production based on the well known, much loved book by author Michael Morpurgo, is compelling viewing. A powerful indictment of conflict and the utter chaos of war, War Horse interrogates the things which test us and allow us to grow in understanding, albeit through unimaginable suffering. It is at once, both devastating and a powerful, life changing, piece of theatre.

Albert Narracott, a sixteen year old farmer’s boy living in rural Devon, is given the task of training up young Joey, a beautiful, feisty horse who had been bought in a bad-tempered bidding war by Albert’s quarrelsome, drunk father. Albert’s task is to turn Joey into a working horse. Their growing bond and successes in the face of adversity, are joyous.

When war comes, the peace of farm life is broken, men enlist and good, strong horses are bought by the army to work in the fields of war. Albert’s beloved Joey is sold by his father, betraying his promise to Albert. Albert cannot bear the loss of his best friend Joey and undertakes a journey into war, with the aim of safely bringing him back home. The parallel, integral story of the horses Joey and Topthorn, a thoroughbred mount, as they are compelled to serve first British, then German forces, mirrors the violent conflict faced by troops, alongside the power of friendship amongst men and animals. When we see war through the horses’ eyes, we see more clearly.

Albert (Tom Sturgess) holds the stage, as he wrestles challenges with bravery, gentleness and single minded determination. From bullied son and gentle companion of Joey, to vulnerable yet emboldened soldier, he captivates throughout. He is our son, our future too.

Joey and Topthorn are awesomely commanding full size puppet horses from The Handspring Puppet Company and are undoubtedly a core part of the success of the production. Puppetry Director Matthew Forbes and the puppeteers who perform in rotation, succeed in portraying the non verbal communication of the horses. The skilled and enthralling puppetry shows them as both warriors and victims, alongside the men at war and the women left behind. The poignance of both horses setting their rivalry aside and settling down to chew the grass side by side, is matched with jaw dropping moments of pure theatre, with both horses involved in the full thrust and horror of war.

Every part is played with truth and passion, the cast make us feel, even cry at times. The nuanced gentleness and ‘stiff upper lip’ of Lieutenant Nicholls (Chris Williams), the comedic banter and potted French of Sergeant Thunder (Gareth Radcliffe), and the gallows humour and bitter-sweet comradeship of David Taylor (Ike Bennett) are examples of the talent on display.

Safe in the directorial hands of Tom Morris and Katie Henry, the work retains its magical spectacle of puppetry, filmic, visceral storytelling, animation and music. The songs, written by John Tams and performed with gritty soulfulness by Sally Swanson and the cast, offer the best of the English folk tradition: memorable, simple and stirring. They complement the power of Adrian Sutton’s orchestral soundtrack, without which the full power and experience of War Horse could not be realised.

The simple, suspended sets (a frayed paper drawing page, where the light edges in) allow our imagination to combine with the creative drawings (Rae Smith) and animations, to immerse us evermore. The highly effective use of lighting zones (Rob Casey), where animals and cast move into and out of view, adds spine tingling perfection when the cast appear from the dark, or a horse rears into view.

Although some of the scenes are disturbing, they are totally necessary in bringing Morpurgo’s work to life and portraying the full horror of war. Touching and moving, War Horse is a must-see experience.

JAZZ CONVERSATIONS at The Place

★★★★★

“Virtuosic yet deeply moving. It is sexy and subversive, and quite revolutionary”

If you ask somebody why they love ‘jazz’, the chances are that they will not be able to put it into words. Which is why ‘Jazz Conversations’ is a bit of a paradox – especially when used for the title of the new show from Bop Jazz Theatre. Short for Body of People, ‘Bop’ was founded nearly thirty years ago by composer and trumpeter Paul Jenkins and choreographer Dollie Henry MBE. Describing the couple like I have just done, though, feels utterly inadequate. Their work – of which ‘Jazz Conversations’ is a shining example – encompasses far more than a mere fusion of dance, music and theatre. Like the jazz idiom itself, it defies definition, expectation, and explanation. It touches us in ways that cannot really be put into words.

A double bill, it mixes original music with that of Miles Davis. The first act, entitled ‘Footprints in Jazz’, is a collage of Paul Jenkins’ compositions and arrangements. The music itself is exciting and diverse. Drawing from many jazz styles, from traditional to contemporary and beyond, it creates a world of its own, but it is impossible to separate it from Dollie Henry’s unique and captivating choreography. And the dancers individually, collectively and constantly take our breath away with their virtuosity. But first up, they allow guest performers – the Impact Dance Youth Company – to open. As a curtain raiser it generously shines a fabulously energetic spotlight on the next generation. The future looks bright!

What follows are five beautifully eclectic pieces. ‘Footprints in Jazz’ opens with African rhythms, bathed in blood red lights and whispers of sound, from which the company emerge in sultry whisps of movement. Giving way to the plaintive piano chords of ‘Last Dance with My Father’, dancer Valentina Dolci sways in balletic grief, yearning and rejoicing in memories while the music swells into a fusion of Bebop and Classical. The story is almost as hard to grasp as the rapid-fire piano notes, but the emotion is unavoidable. Jenkins’ trumpet playing comes to the fore during ‘Directions’ while the synchronicity of the dance steps echoes every keening note. Nafisah Baba floats through ‘Tapestry of Life’, ethereal in pools of marine-blue light, before the act closes with ‘Through the Eyes of Woman’, the ‘BOP Ladies’ in red while Maya Angelou’s poetry weaves through the footsteps and the chord progressions. A powerful message made celebratory rather than bitter in the gorgeous juxtaposition of sight and sound, with experimental touches reminiscent of Maria Schneider in Jenkins’ arrangement.

The originality of the show continues into the second act even when covering the music of Miles Davis – the king of bebop, hard bop and even post-bop. Who recorded ‘Birth of the Cool’ three quarters of a century ago. More than a homage, ‘Touches of Miles’ is an extension of Davis’ output and personality. Paul Jenkins leads the onstage sextet through the numbers. Opening with ‘All Blues’, the free-flowing textures are mirrored by the dancers, sharp Fosse-like edges smoothed down by Henry’s sensitive staging. This is beyond cool! The musicians are each given their moment during the instrumental ‘Four’ and ‘Seven Steps to Heaven’. The eclecticism inherent in jazz flows throughout the evening, reaching out to the Latin rhythms of ‘Flamenco Sketches’ and also embracing Joaquin Rodrigo and George Gershwin. But above all it is Miles Davis, intermittently projected onto the back wall, commenting on his life and work. If he could, he would be approving of the spectacle taking place below in his honour.

“Jazz Conversations” is not recreating a style or a vision; it is undeniably creating its own. Virtuosic yet deeply moving. It is sexy and subversive, and quite revolutionary. “Jazz is the big brother of revolution” Miles Davis famously said; “Revolution follows it around”. “Jazz Conversations” is also a remarkable illustration of the depth of Jazz and its huge influence on every spectrum of the arts. This show is a tribute but also a love letter to the future. The music plays for the dancers but they both evolve from each other. It feels improvised and intuitive while still being polished and precise. And essentially beautiful and mesmerising. It recaptures its African origins and legacy of black artists while remaining thoroughly modern. It is High Art – alternative, yet somehow mainstream and as such it simply must be seen. Why? Well – let’s go back to the start – if you ask somebody why they love ‘jazz’, the chances are that they will not be able to put it into words.

WAR HORSE at The Lowry

★★★★★

“Every part is played with truth and passion, the cast make us feel, even cry at times”

WAR HORSE at The Lowry then UK tour continues

Reviewed on 22nd September 2024

by Lucy Williams

Photography by Brinkhoff Moegenburg

More five star shows from this month:

WAR HORSE

WAR HORSE

JAZZ CONVERSATIONS at The Place

★★★★★

“Virtuosic yet deeply moving. It is sexy and subversive, and quite revolutionary”

JAZZ CONVERSATIONS at The Place

Reviewed on 20th September 2024

by Jonathan Evans

Photography by Punjab2000

More reviews from Jonathan:

JAZZ CONVERSATIONS

JAZZ CONVERSATIONS

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