Tag Archives: Gareth Radcliffe

WAR HORSE

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UK Tour

WAR HORSE at The Lowry

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“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 β€˜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.

 


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:

GUYS & DOLLS | β˜…β˜…β˜…β˜…β˜… | BRIDGE THEATRE | September 2024
THE PLAY THAT GOES WRONG | β˜…β˜…β˜…β˜…β˜… | DUCHESS THEATRE | September 2024
THE BELT | β˜…β˜…β˜…β˜…β˜… | THE CORONET THEATRE | September 2024
JAZZ CONVERSATIONS | β˜…β˜…β˜…β˜…β˜… | THE PLACE | September 2024

WAR HORSE

WAR HORSE

Click here to see our Recommended Shows page

 

The Enfield Haunting

THE ENFIELD HAUNTING

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Ambassadors Theatre

THE ENFIELD HAUNTING at the Ambassadors Theatre

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The Enfield Haunting

“Unfortunately, The Enfield Haunting is a very bad play”

Between 1977 and 1979, the story of the Enfield poltergeist gripped the British public. A ghostly spirit had allegedly taken up lodgings in a council house in the London Borough of Enfield, creating havoc for the working-class family who lived there. The Enfield Haunting, written by Paul Unwin and directed by Angus Jackson, is based on these supposedly paranormal events, providing some potential answers for the still unresolved case. To inform his theatrical retelling, Unwin spoke with Guy Lyon-Playfair, a member of the Society of Psychical Research, who visited the site of the Enfield poltergeist 180 times.

Catherine Tate stars as Peggy Hodgson, single parent and matriarch of the family. The middle child, Janet (Ella Schrey-Yeats), has begun displaying strange episodes of behaviour – she convulses violently and speaks in tongues but then seemingly remembers none of it. Elsewhere in the house, objects and furniture appear to move on their own accord, fuses go out suddenly, and a haunting male figure is spotted lurking in the shadows.

Much to the family’s dismay, Maurice Grosse (David Threlfall), a British paranormal investigator, takes up near-residence in the house, monitoring the goings-on with his special equipment night after night. Clashing with neighbour β€˜Uncle’ Rey (Mo Sesay) who believes these spooky happenings are merely pranks in collaboration with the other children, Margaret (Grace Molony) and Jimmy (Noah Leggott), the Hodgsons try and navigate their newfound national notoriety.

All sounds rather exciting, right? The source material is interesting and there is great potential to explore a long history of β€˜hysterical’ young women and the mayhem they can cause. Unfortunately, The Enfield Haunting is a very bad play. The script is painfully weak – conversations and dialogue drag on for far longer than they need to. Rey delivers monologues of no substance that espouse the same points over and over again. Tate, a brilliant actress on stage and the silver screen, is pretty much reduced to saying the same two lines on repeat – β€˜Please go home, Rey!’ and β€˜I don’t know, Mr Grosse!’ – which is a tremendous waste of her talent.

“the tension is completely lacking”

Within its short 75-minute run-time (cut down by over 30 minutes from the previews), the play simply tries to cover too much. We are treated to not one but TWO twists which do not meld together at all. It is almost as if the production thought they’d try out both, see which gets the best reaction, and run with that. Unfortunately, both fall a bit flat, eliciting notable giggles from the audience.

Schrey-Yeats does well to bring some creepiness to this bland production. Molony is a good support as the eldest child, sufficiently vexatious in manner. Threlfall is given the richest character to explore, and he does what he can to bring some eccentricity and humour to the tale.

The set – designed by Lee Newby – is rather wonderful, a two-storey interior of the infamous house. The sound design (Carolyn Downing) is also strong – the music is atmospheric, the tension built well in these moments. Overall, however, the tension is completely lacking. The pacing is off. The recreation of the most iconic photo from the case – Janet seemingly floating in mid-air in their bedroom – happens so flippantly in the first 15-minutes that it is easily missed.

The illusions – led by Paul Kieve – are OK – a figure appears suddenly in the house before a sudden blackout allows him ample time to move. But nothing is unexplainable – except why the production team thought this play was fit for stage.

It is a great shame that something so well-informed has been unable to hit the mark and join the ranks of other great horror theatre. It is also disappointing that even with such a strong leading duo, such a feeble show is the result. Unless you are a serious paranormal fan, it is definitely one to miss.


THE ENFIELD HAUNTING at the Ambassadors Theatre

Reviewed on 10th January 2024

by Flora Doble

Photography by Marc Brenner

 

 

 

Previously reviewed at this venue:

ROSE | β˜…β˜…β˜…β˜… | May 2023
MAD HOUSE | β˜…β˜…β˜…β˜…β˜… | June 2022
COCK | β˜…β˜…β˜… | March 2022

THE ENFIELD HAUNTING

THE ENFIELD HAUNTING

Click here to see our Recommended Shows page