In July 2012 the puppet makers from the Handspring Puppet Company, creators of the War Horse puppets, visited London to see the show for the first time.

See inside the workshop of the Handspring Puppet Company and discover how they make all the puppets for the show.

Basil and Adrian from Handspring Puppet Company are interviewed about their puppets for War Horse on the Olivier stage. They give a demonstration of the puppets in action and talk about the design and engineering of the puppets.

Handspring Puppet Theatre have many experiments with performance, with and without puppets, planned for the future.

The soul of the puppet lies in the palm of the hand and therefore it is the source of creativity.

Handspring worked with the Sogolon Puppet Troupe from Mali on this project.

An in depth description of how the horse puppets in War Horse were designed and constructed.

A puppet can make something ordinary into something new and epic.

Basil and Adrian discuss the tools of their trade. They speak of their relationships with the puppets and how they see the role of a puppet in theatre.

The puppet can be a mask, or an emotional prosthesis that frees the shy actor.

An interview in which Basil and Adrian speak about how they met, and their first experiments with puppets.

There was an authentic puppetry tradition in Africa that inspired Handspring to reflect African stories.

A pamphlet for teachers, students, researchers or anyone interested in discovering more about the collaboration between Handspring and Neil Bartlett that resulted in the acclaimed production Or You Could Kiss Me at the National Theatre in 2010. This publication contains production and rehearsal images, interviews and a timeline of the play.

Neil Bartlett speaks about his new project, collaborating with the Handspring Puppet Company and designer Rae Smith: a fierce and tender meditation on love, memory and the power of the unspoken.

What goes through the mind of a puppeteer when they operate a character? The Handspring company discuss how they operate their puppets’ thoughts as well as their movements to bring them fully to life.

If the audience doesn't see the puppet breathing, they tend to hold their own breath, in sympathy. Handspring discuss how they use the breath as an essential part of bringing their puppets to life.