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BWW Reviews: Hypnotic Drama WAR HORSE Trots Triumphantly to the OC

To that end, a plethora of kudos must be bestowed on Rae Smith, credited for this play's original sets, costumes and drawings; Adrian Kohler and Basil Jones for the puppet designs; Paule Constable and Karen Spahn for the beautiful lighting; and Toby Sedgwick for choreographing the play's movements (animal or otherwise). Bijan Sheibani directed this US National Tour, taking the reigns, no pun intended, from original co-directors Marianne Elliot and Tom Morris.

Never has such imaginative technology worked in favor of a play's storytelling than it does so magnificently in WAR HORSE. Instead of acting as a distraction to the story (even though, admittedly, it's a paper-thin plot), the show's use of puppetry and animated backgrounds actually enhance the show tremendously, helping to visually trigger many of the play's emotional touchstones and fill in the many gaps the dialogue may not convey so well on its own.

And speaking of the dialogue... I don't think it's much of a stretch for me to point out that, perhaps, I am not alone in feeling a bit perplexed by the play's authentic, heavily-accented speeches from the cast. Whether in the Queen's English or French or German, most of these exchanges whiz by like incomprehensible jabbering. Thus, these visual aids certainly help. These remarkable visual innovations are smart, non-verbal tools that improve the way we follow the narrative along, even if much of the spoken dialect is indecipherable.

But, luckily, some things in life -- like fear, pride, love, and compassion -- just transcend translation.

BWW-Reviews-Hypnotic-Drama-WAR-HORSE-Trots-Triumphantly-to-the-OC-20010101

Funny enough, that's a recurring theme echoed in the play's story itself: the inability to communicate, causing much misunderstanding. Of course, there's miscommunication between humans and horses; after all, only one of these two species actually speaks. Then there's miscommunication caused by language barriers, one of many instances of which is hilariously depicted when a German soldier and a British soldier try to aid a trapped horse together. And then, on a deeper level, there's the miscommunication between father and son -- as shown vividly in the tumultuous relationship between Albert and his stubborn father.

But perhaps the most pleasant surprise of WAR HORSE is that, in a way, the play is almost a stage musical as well. Music plays a significant part in the show, and much of it is sung by a character identified simply as "Song Man" played in the drama by John Milosich. Dressed as one of the villagers, Milosich -- accompanied by Nathan Koci on the accordion -- sings lovely musical verses like an omniscient narrator that enters and exits fluidly throughout the play. Sometimes, certain individual characters and even the entire ensemble bursts forward in song directly to the audience, proving to be quite a rousing ingredient to the mix.

While the human cast -- particularly Veenstra, May, Reed and Cerveris -- provide extraordinary, moving performances that bring a lot of humor and emotion to the tableau, there's no denying that the play's ultimate star is Joey, a massive mechanical creation of movable parts, straps and hinges that is just as alive as its human co-stars. Who would have thought that an inanimate object could be so full of life?

Joey's "soul," so to speak, is provided by his puppeteers/handlers: Jon Riddleberger, Patrick Osteen, and Jessica Krueger. From a playful flick of a tail to a snort of frustration, Joey and, in fact, all the animals, are manipulated in such a brilliant, purposeful way that they all feel like real, living, breathing masses of flesh and bone. After a while, you don't even notice the humans beneath the wires and rods -- but you can certainly feel their humanity.

In one of the most shudder-inducing sequences of the play, one of the horses dies of exhaustion and fatigue. As it writhes on the floor while its last bits of life evaporate from its body, its three puppeteers -- in choreographed, eloquent unison -- slink out of the horse's body and somberly walk away, leaving behind a truly lifeless corpse.

Talk about art imitating life... and so very, very realistically, too!

Aside from Joey, there are 20 puppets in all, ranging from a scene-stealing busy-body goose (puppeteered by Jon Hoche) to flying swallows that circle and dive overhead. There's also Topthorn, a rival horse with a mean streak puppeteered by Jon Hoche, Danny Beiruti, and Aaron Haskell; and horses Coco (Brian Robert Burns and Gregory Manley) and Heine (Grayson DeJesus and Jason Loughlin). Joey as a young foal is handled by Laurabeth Breya, Catherine Gowl, and Nick LaMedica. Every puppeteer has mastered every nuance of an animal's mannerisms in absolute detail.

The work of these incredible artists -- from the actors and the puppeteers to the scenic and puppet designers -- is certainly a huge testament to the power of what live, theatrical stage-craft can achieve. And WAR HORSE is a living, breathing example of what is possible when these elements are combined. Bravo!

Follow this reviewer on Twitter: @cre8iveMLQ

Photos by © Brinkhoff and Mögenburg. From top: Albert (Andrew Veenstra) rides Joey (John Riddleberger, Patrick Osteen, Jessica Krueger); Albert prays; Topthorn readies for battle.

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Performances of War Horse at Segerstrom Center for the Arts continue through Sunday, February 3. Tickets can be purchased online at www.SCFTA.org, by phone at 714-556-2787 or in person at the SCFTA box office (open daily at 10 am). Segerstrom Center for the Arts is located at 600 Town Center Drive in Costa Mesa.

For tickets or more information, visit SCFTA.org.

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Michael L. Quintos Michael Lawrence Quintos is a quiet, mild-mannered Art Director by day. But as night falls, he regularly performs on various stages everywhere as a Counter-Tenor soloist, actor, and dancer for The Men Alive Chorus since 2002. He's sung everything from Broadway, Jazz, R&B, Classical, Gospel and Pop. His musical theater roots started early, performing in various school musical productions and a couple of nationally-televised programs. The performing bug eventually brought him a brief championship run in the Philippines' version of "Star Search" before moving to Las Vegas at age 11. College brought him out to Orange County, California, where he earned a BFA in Graphic Design and a BA in Film Screenwriting. He has spent several years as a designer and art director for various entertainment company clients, while spending his free time watching or performing in shows.

Follow Michael on Twitter at: twitter.com/cre8iveMLQ.


 
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