Review: Private Peaceful – The Royal Lyceum Theatre, Edinburgh

A soldier standing alone on stage with a dramatic backdrop of a desolate landscape under a blue sky.

Adapted and Directed by Simon Reade 

Review by Aislinn McSharry

Rating: 3 out of 5.

Edinburgh’s The Royal Lyceum hosts The Production Garden’s heart-warming and heart-wrenching Private Peaceful this weekend, an exciting theatrical experience.

A stage adaptation of Michael Morpurgo’s novel – a favourite and firm staple for 00s’ kids – the story follows Tommo Peaceful, a young man recollecting his life, from totemic childhood stories of playground battles to teenage heartbreaks, whilst the First World War ominously looms, an ever-growing presence as Tommo awaits an unknown danger in the morning.  

The stage offered minimal set – a simple army-style camping bed in the stage’s centre, an omnipresent reminder of war even at happier moments – whilst a painted pastoral scene is hung on the backwall. Adam Foley’s lighting design meant that this painting switched between bright and colourful, tinged with blues and oranges to coincide with youthful happiness, then starkly transformed to the grey and bleak No Man’s Land.

Benjamin Cain’s Tommo was the play’s raw, beating heart – open and vulnerable, intensely likeable and identifiable. Cain’s unbounding energy naturally exuded childhood joy, which matured as he comfortably aged himself back and forth, and his acting prowess shone as each character in his vast repertoire of multi-rolling was engaging and characterful. Simon Reade’s direction, especially of Tommo’s physicality maintained a bubbling pace to the play, as Cain evoked the story vividly. 

Nonetheless, the decision to stage Morpurgo’s novel as a one-man play leaves a little too much to imagination: the theatrical rendition brings Tommo to life, not the novel. Considering brotherhood is integral to the play’s themes – from the family sphere to battlefield – although poetic, it felt incongruous and ultimately lacklustre to only ever see one man onstage, to no fault of Cain himself.   Whilst undoubtedly an enjoyable night at the theatre, the adaptation limits the excellence of an already powerful theatrical force, which Cain leads in full glory.  


A young woman with long, blonde hair is sitting at a table in an outdoor setting, smiling and holding a cocktail with mint leaves. She is wearing a pink top and has a bracelet on her wrist. In the background, there are twinkling lights and people enjoying their evening.

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