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    Stage Presence

    What a ride: Visually, War Horse is a stunner, but the story lacks emotionaldepth

    Alex Bentley
    Sep 14, 2012 | 2:43 pm

    War Horse, which runs through September 23 at the Winspear Opera House, is about as successful a recent play as you can find. It has had award-winning runs in both London and New York, both of which continue to this day. Steven Spielberg only enhanced its reputation when he made a film adaptation that was nominated for six Academy Awards. The stage and screen versions are based on the 1982 novel by Michael Morpurgo.

    The basis for War Horse is actually quite simple: It's the story of a boy and his horse. Set in the years leading up to and during World War I, Albert Narracott (portrayed in the national tour by Andrew Veenstra) is an English teenager whose father, Ted (Todd Cerveris), is wholly irresponsible, and whose mother, Rose (Angela Reed), is a saint for putting up with him.

    One of Ted's riskier moves, which actually brings some good to the family, is the acquisition of a hunter horse that costs more than the family can afford, a colt that Albert subsequently names Joey. Albert and Joey grow up and grow close together — until Ted does another foolish thing and sells Joey to the military at the outbreak of the war. The bulk of the play details the trials and tribulations of Joey throughout the war and Albert's quest to find his horse again.

    Whether it's a flick of a tail, a hoof pawing at the ground or a snort, the actors within the horses fully commit to creating something that's as close to reality as you can get.

    The undisputed main attraction of the stage adaptation of War Horse is its use of life-size puppets to portray Joey and other horses. The puppets emulate horses but contain a framework that allows you to see the puppeteers controlling them. Three people handle every horse, which sounds distracting — and initially is— but soon their manipulations become seamless with the other actors, to the point where the puppets almost become lifelike.

    There are thrilling moments when the horses rear up, gallop and jump, but what truly makes them memorable is the way the puppeteers never — and I mean never — stop moving. Whether it's a flick of a tail, a hoof pawing at the ground or a snort, the actors within the horses fully commit to creating something that's as close to reality as you can get. The only downside is the noises the actors make, which sometimes sound more like human screams than horse whinnies. It briefly draws you out of the spell.

    As if to underscore the importance of watching the horses, the set is exceedingly simple. A large banner, meant to look like a piece of paper torn out of a sketchbook, hangs all the way across the stage. Sometimes it displays the setting of a particular scene, such as a picture of the Narracott's house, enhanced by the addition of an actual door and window below the banner. Other times it becomes animated, helping to display forward motion that can only go so far on stage. It also shows abstract drawings during explosions and other violent events, meant to convey the chaos of war. The only issue with the banner is that your eyes are too focused on the action onstage to look up and appreciate the work illustrated there.

    The story has the potential to be as compelling as its visual elements, but somehow it falls short. Just as in Spielberg's film version, Albert and Joey's connection is a bit undercooked. It's easy to tell how close Albert and Joey are, but it often seems as if Albert's tortured relationship with his father is of greater importance than the one between boy and horse. And once Joey goes off to war, Albert disappears for long stretches, making the play more about Joey's survival. By putting too much focus on Albert's family life, the play has oddly cut down on the emotion, not added to it.

    Despite the story's shortcomings, the acting is top-notch. Veenstra, Cerveris and Reed form a family unit that is painfully believable. Brian Keane— who plays both Albert's uncle Arthur and Sergeant Thunder, a blustery, profane officer— steals more than a few scenes. The actors who portray Joey— at this performance, Christopher Mai, Derek Stratton and Rob Laqui— deserve enormous credit, as do the ones who bring the other horses to life. Every story needs a little comic relief, and Jon Hoche does a great job as a feisty goose on the Narracott farm. Scenes occasionally are underscored by a song man, who sings folk tunes to set the tone.

    No matter its faults, War Horse is a must for anyone who loves to experience the magic of live theater. These puppets, made to mimic the actions of real horses, are nothing short of remarkable, as are those who engineered them and the actors who master them during the performance. Whether or not the story touches you deeply, you'll remember Joey and how he was brought to life onstage.

    unspecified
    news/arts

    Budget Cuts

    Funding cuts force Dallas Children's Theater to trim 2025-26 season

    Lindsey Wilson
    Jun 3, 2025 | 1:38 pm
    Dallas Children's Theater presents James and the Giant Peach
    Photo courtesy of Dallas Children's Theater
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    The upcoming 2025-26 season for Dallas Children's Theater is shrinking, according to a new communication from its leadership.

    A June 2 email signed by executive director Samantha Turner, board president Leah Mora, and recently appointed artistic director Emily Ernst informs supporters that due to "the significant financial challenges of the current environment," DCT will be reducing the upcoming season from five mainstage shows to three.

    The email doesn't specifically call out the government's cuts to arts funding, but it is heavily implied, especially since other theaters have recently experienced financial difficulties due to the federal cuts.

    "We remain deeply committed to artistic excellence and to the 90,000 young people and families we serve annually," reads the email. "Though we will have fewer performances, we will continue to provide meaningful theatrical experiences that inspire children, nurture their imagination, and encourage connection with the world around them."

    The 2025-26 will retain the previously announced world premiere of The Pigeon Gets a Big Time Holiday Extravaganza! (November 22-December 21, 2025), as well as The Very Hungry Caterpillar Show (January 24-February 22, 2026) and Moon Mouse: A Space Odyssey (March 27-29, 2026), and add a new developmental workshop envisioned by Ernst.

    The Musical Adventures of Flat Stanley and Jungalbook will no longer be produced, and ticket-holders will be receiving instructions on ticket options.

    DCT Academy classes, a vital part of the theater’s work, will continue through the summer, concluding August 8. After that, Academy sessions will be temporarily paused. Families enrolled for the fall semester will receive a separate email with next steps.

    "Although our performances are well attended and our community support is strong, ticket sales cover only a small portion of the true cost of producing theater," the email explains. "At the same time, our operating costs have steadily increased while funding levels have remained flat. This financial pressure requires immediate action to keep DCT viable — not just for this season, but for the years ahead."

    Tickets for the 2025-26 season are on sale now.

    childrenfamiliesdallas childrens theaterchildrens theaterarts fundingtheater
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