Last night's outing was to see the National Theatre's production of War Horse.
I had read good things about this piece so my expectations were high, but I was still awe-struck.
The performances were all first rate, but what most impressed was the visionary staging and puppetry, which created something quite magical. In no time, I found I no longer saw the cast members in and around the horses, as the animals' movements reactions, even little twitches or tail-swishes made them seem so very real.
Had the puppets been more lifelike in appearance it would had less impact as they would have seemed 'fake'. Instead the production draws in and involves the audience's imagination to great effect. With clever use of props and haunting, traditional folk music, the whole show is powerful stuff indeed. If you have not seen it, and if you have the opportunity, then I strongly urge you to do so. And do it soon, especially as Spielburg has optioned the film rights, and his approach is sure to be totally different and widely promoted.
As for access to the theatre, well, that was a skirmish of a different nature. To be fair, I had been well informed by the box office on booking and I knew what to expect. The main challenge involved a lift from the stage door into which my wheelchair would not have fitted, had a stray leaf or piece of paper got stuck to my wheels.
Sadly, there was another party which included a wheelchair user form whom the evening was much less satisfactory. It seems they had not been warned about the width of the lift, and so the mother and sons were in the auditorium watching the play while dad was forced to sit it out in the foyer. It is a shame that there was not more consistency of information. It is a shame that anyone is prevented from being able to see this beautiful production.
It is great that theatres make an effort to enable people with disabilities to access productions, and I fully appreciate that all but the most new venues tend to have access issues as a legacy from a more narrow approach to architecture and the built environment. I must confess to feeling a little nervous in venues like the one we were in last night. Should there be some kind of emergency, my wheelchair is no right at my side (I have taken to transferring into theatre seats as they offer me more back support), and I am dependent on a member of staff accompanying me through a labyrinth of corridors and locked doors in order to get out via a goods lift. Presumably, I could always be thrown across the back of a life-size horse-puppet and be last seen galloping up Drury Lane with a ridiculous grin on my face.

I had read good things about this piece so my expectations were high, but I was still awe-struck.
The performances were all first rate, but what most impressed was the visionary staging and puppetry, which created something quite magical. In no time, I found I no longer saw the cast members in and around the horses, as the animals' movements reactions, even little twitches or tail-swishes made them seem so very real.
Had the puppets been more lifelike in appearance it would had less impact as they would have seemed 'fake'. Instead the production draws in and involves the audience's imagination to great effect. With clever use of props and haunting, traditional folk music, the whole show is powerful stuff indeed. If you have not seen it, and if you have the opportunity, then I strongly urge you to do so. And do it soon, especially as Spielburg has optioned the film rights, and his approach is sure to be totally different and widely promoted.
As for access to the theatre, well, that was a skirmish of a different nature. To be fair, I had been well informed by the box office on booking and I knew what to expect. The main challenge involved a lift from the stage door into which my wheelchair would not have fitted, had a stray leaf or piece of paper got stuck to my wheels.
Sadly, there was another party which included a wheelchair user form whom the evening was much less satisfactory. It seems they had not been warned about the width of the lift, and so the mother and sons were in the auditorium watching the play while dad was forced to sit it out in the foyer. It is a shame that there was not more consistency of information. It is a shame that anyone is prevented from being able to see this beautiful production.
It is great that theatres make an effort to enable people with disabilities to access productions, and I fully appreciate that all but the most new venues tend to have access issues as a legacy from a more narrow approach to architecture and the built environment. I must confess to feeling a little nervous in venues like the one we were in last night. Should there be some kind of emergency, my wheelchair is no right at my side (I have taken to transferring into theatre seats as they offer me more back support), and I am dependent on a member of staff accompanying me through a labyrinth of corridors and locked doors in order to get out via a goods lift. Presumably, I could always be thrown across the back of a life-size horse-puppet and be last seen galloping up Drury Lane with a ridiculous grin on my face.





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