THEATRE REVIEW: Private Peaceful - The Grand Theatre, Blackpool.

'Private Peaceful' is a well-loved children’s novel, written by Michael Morpurgo and first published in 2003. I know it to be ‘well-loved’ as I spent many evenings reading the story with my then teenage daughter. I have many treasured memories as I listened to her tell me the story of the two Peaceful brothers and their struggle through life; fighting every step of the way for what they believed to be right. Not only was this a very firm favourite in our household, Michael Morpurgo himself has also acknowledged this teen novel to be his own favourite piece of work. My own treasured moments of reading meant that I was somewhat cautious about seeing this tale transferred to the stage – but I needn’t have worried. This stunning, new adaptation by Simon Reade, brought to life by Elle While is delivered by a hugely talented cast, and also poignantly highlights Michael Morpurgo’s initial political stance, tackling the hypocrisy of cowardice. This undertone gives the piece a living and almost breathing heartbeat, something which has really been pulled from the pages and pulsates throughout the performance. It is simply breath-taking.

Morpurgo is no stranger to writing of war and its atrocities. Morpurgo was born during World War Two and often writes of the divisions, conflicts, and injustices of war. The theme of war is explored not only in 'Private Peaceful' but in 'War Horse' and 'Adolphus Tips'. One of the first aims of writing 'Private Peaceful' for Morpurgo was to highlight the failure of the British Government to grant pardons to many British soldiers who were shot for cowardice, where it is now widely acknowledged and accepted that these men were gravely distressed and suffering incredible trauma. 'Private Peaceful' was inspired by Morpurgo’s visit to the Somme, where in fact he did see the grave of a private named ‘Peaceful’.

The story is a moving WW1 story of Thomas ‘Tommo’ Peaceful and his life in rural Devon. Tommo has two older brothers, for whom life is changed irrevocably by the death of their father. Subsequent events almost lead Tommo directly into war, and we then witness first hand the horror and the disaster of Private Peaceful in the trenches of WW1.

Our first encounter with Tommo sees him wrapped tight in a blanket, and we learn that this night and the moments ahead of him are meaningful. Determined to stay awake, the ongoing dialogue gradually provides more information about his circumstances, but the precise nature of Tommo’s circumstances are not revealed until the final scene. The story is narrated through the passing of time in what we believe to be Tommo’s final moments, but through clever writing and sublime direction we, the audience, are able to realise all the intimate details of Tommo’s life, the juxtaposition of young and older Tommo, beginning life as a child in rural Devon to the bittersweet ending of a man committed to king and country, and the horrors of ‘life’ in the trenches.

This is a strong ensemble cast, with most players taking on numerous roles. The Peaceful brothers are played by Dan Rainford (Tommo) and Daniel Boyd (Charlie). Both deliver convincing performances with believable Cornish accents – which is no mean feat! The brothers are further supported by Emma Manton as their mother Hazel, and Liyah Summers as Molly, the childhood sweetheart. Completing the cast and covering a good number of additional roles are John Dougall, Robert Ewens and Tom Kanji.

Bill Talbot’s beautifully designed set seems simple, but as the play progresses, we see how intricate the design is, enabling actors to move between the past and present seamlessly with the addition of some cleverly concealed props, entrances and exits. The set is certainly noteworthy. Lighting and sound design by Tim Streader and Jason Barnes really add depth and an extra layer of emotion to the performance, and I was struck by the beginning of both acts, with the simple but effect use of voice overs and strobe lighting to really set the scene and draw the audience into Tommo’s nightmare.

For me, this should remain a play for children. The script is designed to be accessible for younger audiences and I think that this play is one which will ensure that the atrocities and horrors of war, which we hope our children never have to live through, can be understood.

To help children acknowledge such an horrific period of our history, it is important the production is not too dark or depressing, because to do so we can lose their interest. This piece manages to balance the joys of childhood, the love of a close-knit family, loves first kiss with the brutality and loss of war, dwelling on each aspect just long enough to ensure the audience really feel the sharp contrasts of these emotions but in the end it is love, the love between two brothers that stays with us.

Through this play and works such as this, we will remember them.

Reviewer - Jen O'Beirne
on - 4.5.22