Stirling Players’ production of Peace In Our Time, directed by Geoff Brittain, establishes a strong sense of atmosphere from the moment you enter the theatre. A detailed and convincing pub set designed by Leah Klemm, combined with carefully considered lighting by Richard Parkhill and a light haze reminiscent of cigarette smoke, immediately transport the audience to wartime London. The opening air raid sirens and the sound of a crackling radio further reinforce the sense of time and place.
Noël Coward wrote Peace In Our Time in 1946 after witnessing post-occupation Europe. Coward imagines an alternate history in which Britain has been successfully invaded and occupied by Nazi forces in 1940. Set in a London pub, the play explores how ordinary people respond to life under occupation — with behaviour shifting in the presence of German officers and communities balancing quiet defiance, uneasy resignation, and the occasional opportunist eager to align with whoever holds power.
Throughout the performance, Parkhill’s lighting design continued to enhance the mood, helping to shape the emotional tone of scenes set within the pub. The musical contribution of pianist Kristin Stefanoff also added to the atmosphere, both as cabaret accompaniment and as part of the life of the pub itself.
Several performances provided strong anchors within the large ensemble. Tim Williams as Fred Shattock is particularly convincing as the pub proprietor, with a believable accent and an easy authority that suggests a man accustomed to running his establishment and looking after his regulars. Alongside him, Shelley Hampton as Nora Shattock and Tianna Cooper as Doris Shattock form a believable family unit at the heart of the pub, their gradual shift from trying to maintain normality under occupation to supporting the resistance, adding depth to their performances.
Adam Schultz gives a thoughtful performance as George Bourne, with his gradual development into a member of the resistance handled with quiet conviction. Sam Wiseman brings a suitably intimidating presence to the role of Albrecht Richter, with moments of genuine tension – particularly when Richter places a hand on Lyia Vivian’s shoulder – creating palpable unease. Brendan Clare’s Chorley Bannister is a recognisable opportunist, ready to align himself with whoever holds power.
Tegan Gully-Crispe also impresses as Lyia Vivian, particularly in her singing, while Peter Bleby and Bronwyn Chapple are well suited to their roles as the unassuming Mr and Mrs Grainger.
One of the production’s most touching moments comes in a later reunion scene, played with warmth and believable emotion.
Costumes by Gil Cordell and Sandy Faithfull generally support the wartime setting, and the overall sound design helps maintain the atmosphere created at the beginning of the performance.
Where the production occasionally struggles is in conveying the sense of a busy London pub that sits at the centre of Coward’s play. With relatively few patrons on stage, the pub lacks the bustle one might expect from such a setting. At times this makes some movements between characters feel a little deliberate, where a busier environment might have allowed movement and conversation to flow more naturally. This contributes to a first half that occasionally feels slow-moving. There are also moments where dialogue is difficult to hear clearly, with some lines delivered too quietly or indistinctly.
Despite these challenges, the production demonstrates the considerable effort of the company in tackling a large and complex ensemble work. Strong design elements and several committed performances bring moments of tension and humanity to the stage, reminding audiences that the moral choices explored in Coward’s imagined occupation remain as relevant today as ever.
