The National Theatre’s award-winning stage adaptation of Michael Morpurgo’s 1982 novel, War Horse, makes a welcome return to the Midlands this month. Featuring music, song, and some of the best puppetry you’re ever likely to witness, the production tells the powerful story of a young man named Albert and his beloved horse, Joey, as they find themselves caught up in the horrors of the Great War...

The stage play War Horse revolutionised the way theatre used puppetry by creating realistic and life-sized animals and placing them at the centre of the drama. Premiered in 2007, the show, based on the bestselling novel by Michael Morpurgo, tells the story of Albert and his beloved horse Joey - both of whom have to leave behind a farm in Devon for the trenches of World War One.

Adapted by Nick Stafford, the National Theatre production features more than 20 puppets created by South African company Handspring Puppets. These include Joey and fellow horse Topthorn, which are each powered by three people - one in the head, one at the heart and one at the hind.

And while it’s no mean feat, being a horse puppeteer is also great fun, says Welsh-born actor Michael Larcombe, who is one of a team of people playing the hind of both Joey and Topthorn, in the current touring production of the show.

“I wanted to be part of the global phenomenon which is War Horse,” explains Michael. “I had a little play in the horse in the first audition, and it was just amazing to see the craftsmanship of the puppets and how the horses work. It’s just gorgeous.”

Michael had previously undertaken puppetry roles in a number of other shows. As well as performing as lemurs and monkeys in Madagascar, he also formed part of the Aslan puppet team in The Lion, The Witch And The Wardrobe, which showed at Birmingham Rep across Christmas 2023.

War Horse, though, takes things to a whole new level.

“The puppeteers have two weeks of puppetry school before the actors come in for main rehearsals, and there is a lot of learning,” recalls Michael who began the tour last summer. “And there’s a lot of research into all kinds of things, like the sounds horses make and their different gaits, to make sure the movement is authentic. We also went on a little excursion to the King’s Household Cavalry, just outside Hyde Park, and spent a day with the military horses there. We got to observe them and groom them a little bit and understand more about horses from the military point of view.

“And you can carry on learning. In January, the tour was in Woking, and the place I was living was right next door to a field where there were two horses. So I could observe them and think ‘I might try that tonight.’”

The tour has four teams of three puppeteers rotating to play both Joey and Topthorn.

“We all contribute to the personality of the horses. The two horses are very different; they both had very different upbringings. Topthorn was born into the military, so he’s had military training. He is used to gunfire and loud noise and those sort of things, so he’s a lot more stoic and rigid. That influences how we portray him.

“Joey is a half-thoroughbred/half-draft horse, so has the personality of both. He’s bought at auction and then grows up at Albert’s farm, where he’s used as a riding horse to begin with. Then he’s forced into having to plough and work on the farm, which is something you wouldn’t expect of that sort of horse, so he has a more rugged upbringing.

“Joey looks up to Topthorn, they become very close, and Joey gets a lot of how to deal with the war noises from him. Joey is a very strong, rambunctious horse, so although he hasn’t been around that environment, he settles to it quite quickly because he has to.”

Made primarily from cane, aluminium, leather and mesh, the horses are life-sized. Measuring about eight feet in length, they are 10 feet tall and weigh around 40 to 50kg. Although the puppetry roles are physically demanding, Michael says the team receive great support from the tour company.

“They are fantastic. Even as far back as the auditions, they gave us a physiotherapy session to make sure there was nothing that would cause any issues using the horses. Then, being cast in it, we use a physiotherapy company we are affiliated with, and they give us all an individualised plan. We are really well looked after. You are going to get tired or have sore muscles doing this every day, but actually your body gets used to it very quickly.”

War Horse is the most successful play in the history of the National Theatre. It originally  spent two seasons at the National before opening at the New London Theatre in March 2009.  Since then, the show has been seen in around 100 cities worldwide, with productions on New York’s Broadway, in Toronto and Berlin. With touring productions in the UK & Ireland, North America, the Netherlands and Belgium, it has played to audiences of more than eight million people worldwide and won in excess of 25 major awards.

For Michael, the key to its success is in the relationship between Albert and Joey.

“At the heart of the show, there’s so much love and hope and friendship, and the theme of perseverance. People really resonate with that. It’s set in the First World War, so a very specific time, but I think friendship and hope are universal. You meet these characters at the beginning, you go through this really epic, tumultuous journey with them, and you really want them to get to the end and get back together.

“I also think it’s the fact that you are seeing this journey through the eyes of the horse; people really connect with that. It’s not the kind of thing you would normally see on stage.”

And, he says, audiences - whether they’re new to War Horse or returning to see it again - are in for a real treat: “I don’t think there’s a reason not to see the show. Why wouldn’t you want to see a gorgeous play with wonderful music and wonderful actors telling this story of friendship and love and perseverance? And you’ll also see some gorgeous puppetry, if I do say so myself!”

War Horse shows at the Regent Theatre, Stoke-on-Trent from Tuesday 4 to Saturday 8 March, and then at the Grand Theatre in Wolverhampton from Tuesday 11 to Saturday 22 March

By Diane Parkes