Look, we all know that for most, it’s all about the horse. And rightly so.

Adrian Kohler and Handspring Puppet Company’s astonishing equine creations remain, almost two decades later, truly beguiling visions on the stage. In movement, performance and as feats of engineering alone, ‘Joey’ and friends – including that scene-stealing goose – remain a wonder.

And yet, in the current turbulent geopolitical landscape, it’s sobering to be reminded just how effectively War Horse resonates on the first half of its titular couplet, too. This is as moving, thought-provoking and deeply human a theatrical exploration of war as any of its contemporaries.

Set in the lead up and over the course of World War I, War Horse follows young Albert Narracott (Tom Sturgess) as he raises a young foal his father (Karl Haynes) drunkenly buys at auction.

The hearty, Devonshire-set first half predominately focuses on the dynamic between Albert and ‘Joey’, developing their bonds of trust, defying expectations as both grow (in Joey’s case, quite literally and magnificently). It’s a charmingly bucolic and earnest dive into pre-War Britain, with hooks such as a bet over whether or not Joey the hunting horse will be able to plough sewing the seeds for later, war-torn set pieces.

As the interval approaches, and the shadow of Wilhelm II looms large, the declaration of war brings the unflinching purpose and wrenching drama of War Horse to bear. An impressive steed, Joey is shipped off to Europe to engage in the war efforts as an officer’s mount, but young Albert is determined to get his beloved horse back.

It remains a story of decidedly two halves, and although the initial focus is fairly fixed on the Narracotts, the second Act blooms into far more of an ensemble piece. More than ever, the time and care original author Michael Morpurgo and book adapter Nick Stafford take in humanising all sides and facets of the war conflict feels especially timely and resonant.

“…the time and care original author Michael Morpurgo and book adapter Nick Stafford take in humanising all sides and facets of the war conflict feels especially timely and resonant.”

For sure, we get a couple of boo-hissable sorts. Jack Lord’s scarred, horse-whipping Private Klausen is about as cookie cutter as they come, but for the most part War Horse’ ensemble eschew tropes and shine with nuanced and endearing characters caught up amidst the brutality and devastation. Chris Williams’ kindly Lieutenant Nicholls is a keen artist who sketches Joey in his down time. Alexander Ballinger’s Captain Müller deserts the war effort to become an orderly and take care of the horses whilst also protecting a young French girl (Diany Samba-Bandza) whose home has been claimed by the war effort.

Even obnoxious cousin Billy (Haydn Burke) is remoulded by the horrors and reality of war. And a late-game ceasefire in no man’s land is not only buoyed by some genuinely enjoyable and pompous banter from the Brits, but is another reminder of shared humanity transcending borders and conflict divides.

It’s wonderful, affecting stuff and the cost and senselessness brutality of war are frequently felt; War Horse is certainly not sparing in dispatching even major characters. Prepare the tissues for a late farewell to one of its main animal cast, too.

The company assembled for the current tour more than do justice to the great material and theatrical wizardry they are playing with. Tom Sturgess is a sincere and lovable Albert, whilst Jo Castleton and Karl Haynes feel earthy and real as his struggling (and later worry-struck) parents. Sally Swanson lends a resonant, almost folklike aura to proceedings as she regularly provides delightful on-stage vocals and song to the show’s more emotive or sombre beats.

But arguably the most affecting, transfixing performances of the evening once again come from the masterful team of puppet performers who bring Joey (both young and old) and his frenemy ‘Topthorn’ to life. Tom Quinn, Lewis McBean and Michael Larcombe as adult Joey, Matthew Lawrence, Rafe Young and Felicity Donnelly as Topthorn and Eloise Beaumont-Wood, Diany Samba-Bandza and Jordan Paris as foal Joey all work absolute magic on the stage. The ticks, mannerisms and behavioural quirks they imbue merges performance, imagination and craftsmanship into not only illusion, but also character.

“…arguably the most affecting, transfixing performances of the evening once again come from the masterful team of puppet performers…”

On the subject of craftsmanship, War Horse remains a gorgeous, opulent spectacle elsewhere, too. Nicol Scott and Ben Pearcy’s wonderful animation and projection work, coupled with Rae Smith’s gorgeous art cast backdrops that are equal parts transportive, majestic and terrifying throughout. Rob Casey builds on Paule Constable’s lighting and syncs with Christopher Shutt’s fantastic sound to convey both the warmth of the Devonshire idyll and French countrysides with the stark, uncompromising noise and horror of the trenches and wartime Europe.

Director Tom Morris and revival director Katie Henry bring Joey and friends back to the stage a time where it could be scarcely more resonant or needed. It is, across the board, a showcase of superlative creative teams and performers synthesising to craft a near-faultless piece of truly dazzling theatre. A staple, a tentpole, a classic of its time and deservedly one of the most successful theatrical productions of the 21st Century.

Long may it rein.