Tag Archives: Lucy Williams

WAR HORSE

★★★★★

UK Tour

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WAR HORSE at The Lowry

★★★★★

“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.

 


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 | ★★★★★ | BRIDGE THEATRE | September 2024
THE PLAY THAT GOES WRONG | ★★★★★ | DUCHESS THEATRE | September 2024
THE BELT | ★★★★★ | THE CORONET THEATRE | September 2024
JAZZ CONVERSATIONS | ★★★★★ | THE PLACE | September 2024

WAR HORSE

WAR HORSE

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EDWARD’S TALK: WHAT’S DRIVING YOU?

★★★

Edinburgh Festival Fringe

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EDWARD’S TALK: WHAT’S DRIVING YOU? at the Edinburgh Festival Fringe

★★★

“less successful when assessed as a piece of theatre, than it was as an informative and engaging lesson”

Edward delivers speed awareness sessions, the type you can opt into to avoid points for speeding, or according to Edward’s experience, be mandated to attend by the police. As audience members, we are told we are in the latter category and encouraged to admit our own driving errors – driving with a hangover, when angry, or when in a rush.

Edward is an old hand at these talks, but today he has forgotten his PowerPoint and is flustered, warm, anxious and thirsty. He is dedicated to sharing his encyclopaediac knowledge of the cause and effects of road traffic ‘incidents’, because there are no accidents, only avoidable mistakes ending in one form of tragedy or another. Sharing facts and figures, he insists (politely and reassuringly) in audience engagement to check our understanding of the hard science of collisions with real life examples, such as the distance a pedestrian can be thrown when hit by a car at a mere 30mph.

In this new, devised one-hander, written by A G Anderson, the amiable Edward , ‘never Ted’ played by Andrew Bruce-Lockhart is an eminently likeable, if very softly spoken, slightly bumbling presenter of his talk, flitting from real life engagement with the audience to more emotional flashbacks of dialogue with people in his life who have been affected by his driving and choices. He keeps forgetting things, or cannot find what he needs, perhaps a symbol for the importance of the deliberate consciousness with which he urges us, repeatedly, to remember: ‘Drive like it matters.’

The staging is minimal, which suits the lecture style setting– a flipboard which does not sit quite straight, a chair and nothing else, but we follow the mood and flashbacks easily with Director Julia Stubb’s lighting changes, as past experiences literally cause Edward to pause and sometimes to recoil at his actions and consequences. There are some effective but not intrusive soundscapes of pulsating rhythms, introduced to highlight the building historic tensions in Edward’s life. The final message brings home our inherent human flaws. These cannot be avoided, but we can reduce the risks when we get behind the wheel of a car by driving more consciously.

This is not primarily a dark show, it is a powerful message which Edward – and the organisations working to promote road safety awareness in the UK – are urgently trying to promote to a new audience by showing it at Edinburgh Fringe and other venues.

‘Edward’s Talk’ was less successful when assessed as a piece of theatre, than it was as an informative and engaging lesson. Nevertheless, the work is extending this important message to a wide cross section of a new audience and as such, it is an interesting and original piece of work.

As Edward says, ‘We are all fragile humans, a mixture of ‘flesh, skin and hope’ and we need to heed the message ‘Drive like you mean it.’


EDWARD’S TALK: WHAT’S DRIVING YOU? at the Edinburgh Festival Fringe – theSpace @ Surgeons’ Hall – Theatre 1

Reviewed on 13th August 2024

by Lucy Williams

 

 


EDWARD’S TALK

EDWARD’S TALK

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