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If this comes to SF, I'm there, regardless of ticket prices.

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Since opening at the National in 2007 and transferring to the West End this spring, “War Horse” has reduced many London audience members to tears, especially in the final minutes, as they learn the fates of Albert, Joey and Topthorn and whether Albert and Joey will find each other amid the chaos of war. That two puppets elicit this sort of response has inspired the designers to develop a theory they call micromovement.

“We work on the assumption that the audience is in fact far more perceptive than they are normally given credit for,” Mr. Jones said. “Meaning, if the puppet is breathing, even people sitting in the very back row can see it. So even the tiniest movement is important, and those onstage need to be aware of it. It’s this focus on the importance of detail in the horse movement that, strangely, has quite epic emotional resonance.”