War Horse (2025)

The National Theatre’s War Horse has galloped back into Milton Keynes Theatre, and under the direction of Tom Morris, with revival direction by Katie Henry, it remains a towering triumph of theatrical imagination. Based on Michael Morpurgo’s beloved novel, the story of Albert and his horse Joey set against the backdrop of World War One is as emotive and gripping as ever, offering a deeply human tale that continues to resonate.

Tom Sturgess gives a commanding performance as Albert Narracott. With exceptional clarity and emotional honesty, he captures both youthful innocence and unwavering determination. His bond with Joey is utterly believable and central to the emotional weight of the story — drawing the audience in as he traverses from the Devon countryside to the horrors of the trenches.

The puppetry, delivered with breathtaking precision, is the undisputed star of the show. Joey’s adult form is animated by Tom Quinn (Head), Lewis McBean (Heart), and Michael Larcombe (Hind), while Topthorn is handled with equal brilliance by Matthew Lawrence, Rafe Young, and Felicity Donnelly. The foal version of Joey, brought to life by Diany Samba-Bandza, Jordan Paris, and Eloise Beaumont-Wood, introduces the character with a touching vulnerability. Each twitch of the ear and flick of the tail is choreographed so naturally that you forget these are puppets at all — the illusion of life is complete.

Rae Smith’s stage design is sparse yet evocative, aided by haunting projections and shadow puppetry that add layers of depth and drama. A torn strip of paper above the stage becomes a canvas for flickering imagery, offering key context and emotional cues. This clever integration of multimedia ensures the narrative remains accessible and visually arresting throughout.

Adrian Sutton’s music underscores the drama beautifully, while the addition of traditional folk-style songs adds a plaintive charm that punctuates the story with moments of warmth. The occasional humour — particularly from the supporting cast — also provides welcome relief from the otherwise sombre tone of the narrative.

While the lighting generally heightens the tension and realism, there were moments where handheld spotlights felt overpowering, momentarily pulling focus away from the action. Those seated in the upper tiers may also find the acoustics occasionally muddled during some of the more frenetic scenes, though this does little to detract from the overall impact.

With a runtime of just over two and a half hours including the interval, the play does require some stamina, but its pacing is deliberate and rewarding. The occasional slower moment allows the emotional beats to fully land, particularly as Albert’s journey grows darker and more desperate.

War Horse is not light entertainment — it’s a production to be felt deeply. It invites awe, provokes thought, and leaves you reflecting long after the final bow. Combining state-of-the-art puppetry, stirring performances, and a powerful story, this revival is a worthy tribute to both the human and animal cost of war.

A remarkable theatrical achievement — both stirring and unforgettable.