Magic. It is the word that best describes the cohesive artistic vision that is “War Horse.” The much-lauded play originated by the National Theater of Great Britain incorporates folk music, simple but effective video effects and puppetry on a grand scale to create a unique theatrical spectacle. The touring Broadway production currently plays a short run at the Paramount Theatre.
Designed by Handspring Puppet Co., the life-sized horse puppets in “War Horse” are constructed of fabric stretched on elaborately jointed frameworks of cane that has been soaked and shaped; three puppeteers operate each horse without making any effort at invisibility. Yet, such is the transformative magic of this production that we become convinced that we are observing living, breathing horses on-stage.
“War Horse” recounts the story of young Albert Narracott (Andrew Veenstra), who follows his beloved horse, Joey, to the battlefields of World War I after his drunken lout of a father, Ted (Todd Cerveris), sells Joey to the cavalry. Amply demonstrated are the horrors that war inflicts on both man and horse.
Critics often cite the coincidence-driven plot and excess of sentimentality of “War Horse.” Neither criticism is surprising, considering that the original source is a children’s book (by Michael Morpurgo, adapted for the stage by Nick Stafford), intended to impart lessons about the horrors of war. The Steven Spielberg film version did little to enhance the somewhat-trite narrative that recycles elements from “Black Beauty” and “The Red Badge of Courage.”
But the immersive theatrical spectacle of the stage play overcomes objections to the plot. And given the Anglo-American love of horses — so amply demonstrated by the current flap in Britain over horsemeat in hamburgers — the sentimentality may be well placed.
Low-tech simplicity
Though elaborate, the theatrical effects in “War Horse” are delightfully low-tech, harking back to the earlier and simpler time period of the tale. Not only do the puppeteers operate the animal puppets (including a wonderful goose with an attitude), actors push tanks, wagons and guns across the battlefield scenes. Actors lifting a rail up and down combine with a video projection to suggest the pitching of an ocean vessel.
John Milosich’s clear tenor sings a narrative, sometime a cappella, sometimes to the accompaniment of a simple instrument such as an accordion. In Rae Smith’s streamlined set, the mere outline of a door or window combined with a video projection of a roofline suggests a building.
Nor are the actors lost in the midst of all the spectacle of puppetry and effects. Some fine performances include Brian Keane, who provides superb comic relief as the spit-and-polish Sgt. Thunder.
When Veenstra’s Albert interacts with Joey, the love is apparent between boy and horse.
Todd Cerveris and Angela Reed excel as Ted, the town drunk and his put-upon wife, Rose.
Andrew May is another standout as German Capt. Friedrich Muller, who realizes too late the perverting influence of war.
For those who love theatrical artistry, “War Horse” is a must-see.
“War Horse” plays through Feb. 24 at the Paramount Theatre (stgpresents.org/paramount). To comment on this story, write to QAMagNews@nwlink.com.