Last Thursday I went to see the National Theatre's production of Michael Morpurgo's
War Horse at the New London Theatre at Drury Lane, where the play has transferred from the South Bank. I haven't read the novel so was looking forward to sitting in the stalls with an entirely open mind.
My goodness, if ever you want to kill dead a frisson of excitement gaze at the exterior of the New London Theatre. If it wasn't for the posters and school groups letting you know you'd arrived at the right place, you would honestly think you were gawping at a 70s multi-storey car park. Still, no reflection on the play - and when I'd earlier told my colleagues of my evening plans they'd gasped with envy.
Michael's book is on sale in the foyer and my mum promptly bought a copy. It's a tie-in edition with no age range on the back cover and I'm sure is selling several copies with every performance.
So. The play. The cast is huge - a rarity on the London stage these days - and the puppets are amazing. The puppeteers don't try to hide away. Indeed, they are very much part of the production, wearing period costume and being unapologetically visible. As a member of the audience, your attention seems able to shift between the plot, the puppets and the puppeteers with no ill consequences.
The play is a portrait of an early 20th-century Devon boy and his horse, Joey. The boy, Albert, is on the cusp of manhood. The horse joins Albert's farming family and grows from an awkward colt to a faithful stallion. The First World War intervenes - Albert's father sells Joey to the army as an officer's horse and when Albert discovers this betrayal, he joins up as an underage soldier in order to find his friend.
And so, the horrors of the First World War play out across the stage in choreographed scenes that platform the noble, silent pride of animals. I did wonder how this careful staging compared to the book, which is narrated from Joey's perspective. I may have to steal Mum's copy.
The weekend following was spent with friends and their children, writing and then a hellish run in the heat. But even as I plodded through my six miles, hating every moment, my mind couldn't help picking over the details of my latest manuscript. Crucially, how it's going to end. A final line floated into my mind and it's still lodged there. As I prepare for the SAS's writing retreat in three weeks' time, I wonder if that line will make it into the final draft. But it's there: my last line. It's a start.