137:. He wrote, "The city itself seemed to be unchanging, physically at least untouched by the horrors of enemy occupation. It didn't take me long however to realise that, behind the facade, a great deal had changed; the sense of immediate relief had faded, and there was an atmosphere of subtle disintegration, lassitude and above all suspicion". This led him to wonder "what would have happened to London and England if, in 1940, the Germans had successfully invaded and occupied us, which they so very nearly did". He decided to place the entire action of the play in the bar-parlour of a London pub, as "the most easily manageable meeting-ground for various types of Londoners".
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she dies she says she told the
Germans nothing. Two months later the British liberation is in full swing. Some of the regulars abduct Richter and bring him in. They tie him to a chair and tell him he is to be "liquidated" for his murder of Doris. Learning that the Germans are coming to rescue him, they put his chair immediately behind the locked door; he is riddled with bullets by his comrades as they shoot the door down. The regulars and the Shattocks escape through the back door while the radio is heard announcing that the liberation is nearly complete.
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continues and
Germany has been defeated at sea. The cellar of the pub has been turned into a base for the resistance. Bannister discovers this, and rushes out. Subsequently, Richter, with two SS guards, comes to arrest Doris. Three days later her broken and dying body is brought back to the pub: as
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revival detailed below, judged that the play explored interesting dramatic questions while still maintaining a close feeling of realism, such as how frustratingly "characters grumble about the indignity of foreign occupation, including food and drink rationing". Questions of loyalty and friendship
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The
British public did not want to be reminded of years of deprivation and war; the depressing picture of a defeated people undergoing shortages and domination was all too close to the truth, since Britain was still suffering from austerity and rationing. His audiences expected the escapism of his
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Scenes 3 and 4 are set in early 1942. The pub's supplies of whisky are running low, but the
Shattocks decline Richter's offer to obtain supplies for them. After the pub has closed, Billy Grainger, son of two of the regulars, staggers in. He has escaped from a Nazi prison camp. Dr Venning (another
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of 1938, "I believe it is peace for our time". The phrase was frequently quoted as "peace in our time". Coward was advised not to use the phrase for his title, but as his biographer Cole Lesley put it, "Of course he used it, only too delighted to do anything which might anger the pro-Munich lot".
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The time is
November 1940. Britain has been conquered and occupied by Nazi Germany. The Shattock family run the Shy Gazelle, with a clientele mostly of locals. The latter are in general ordinary British people, resentful of German occupation but, to varying degrees, resigned to it. One, Chorley
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A handsome and well-dressed German, Albrecht
Richter, comes into the bar and is cold-shouldered by the other customers. He leaves after one drink. Bannister warns the others that "a little toleration" of the occupiers is simple common sense. Others disagree, and condemn cowardly expediency.
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by Hitler, an attack on a German officer near the pub and the arrest of a local Jewish tailor by the SS. Richter establishes a friendly relationship with
Bannister. Others remain politely hostile, in varying degrees. The most hostile suspect others of being too ready to collaborate.
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were suspected of resenting Coward's depiction of left-wing journalists who collaborated too readily with the Nazis, but other critics, then and later, thought Coward's treatment of the theme fell between two stools: not profound, but not witty enough to make its point by satire.
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wrote, "This play cannot possibly fail. It is too moving, too exciting, too deft – and too timely. We need to be reminded, just now, that we are people of spirit". They were in a minority of the critics, most of whom wrote lukewarm or hostile reviews. Some, including
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The piece is unusual for its sombre tone, being considerably darker than the comedic approach of most of Coward's plays. It was only a moderate success at its first production, running for 167 performances, but has attracted some attention in later revivals.
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resistance member) is summoned, and takes Billy away to hide him. The
Shattocks' son, Stephen, subsequently appears briefly: he is also on the run from the Germans. It emerges that he and his sister Doris are active in the resistance movement.
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on 15 July 1947. The audience gave it an enthusiastic welcome, and it seemed as though Coward had a hit on his hands. Nevertheless, before the London opening Coward revised the text extensively. The play opened at the
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The second scene takes place in June 1941. News of events in
Britain, on the radio and reported by customers, include the shooting of Winston Churchill, the
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The play is in two acts of four scenes each. The setting is the saloon bar of a London public house called The Shy
Gazelle, somewhere between
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or revived in the West End. The large cast makes it a difficult undertaking from a commercial standpoint. Productions include that at the
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The play was put into rehearsal in 1947. Coward wanted a cast of fresh new talent, and auditioned numerous rising actors including
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and occupied the United Kingdom. The work takes inspiration from the real-life sufferings of French citizens during the
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on 22 July. The first night audience received the play with acclaim, but the reviews were generally unfavourable, and
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Act II, Scene 1: Archie Jenkins (John Molecey), Mr Grainger (Trevor Ward), Alfie Blake (Brian Carey), Janet Braid (
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to be liquidated had the Germans taken Britain. The play takes its title from a popular misquotation: the pre-war
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under Coward's supervision; it starred performers who became well known including
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was not among Coward's longer-running plays. It transferred from the Lyric to the
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on 29 September and closed in December after a total of 167 performances.
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In the original version of the play, seen in Brighton, it was the
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526:(1989), a UK tour by the Touring Partnership (1995), the
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Coward was implacably anti-Nazi; he had despised pre-war
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849:"Saturday-Night Theatre presents 'Peace in Our Time'"
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869:. Sheridan Morley (introduction). London: Methuen.
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431:It is 1945. The tide of the war has turned. The
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113:. Later in the year the play moved to the
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922:Mander, Raymond; Joe Mitchenson (1957).
822:Bristol Evening Post", 21 February 2006
93:in 1947. The production was directed by
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851:, BBC Genome. Retrieved 25 March 2020
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46:is a two-act play written in 1946 by
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307:German soldier – Charles Russell
150:list of prominent public figures
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925:Theatrical Companion to Coward
888:. London: Sinclair-Stevenson.
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580:Cultural impact of Noël Coward
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364:Fourth SS guard – Douglas Vine
352:Kurt Forster – Michael Anthony
331:Ben Capper – Manfred Priestley
328:Doctor Venning – Michael Kent
209:Roles and original London cast
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310:Herr Huberman – Richard Scott
276:Bobby Plaxton – Derek Aylward
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1535:The Queen Was in the Parlour
1228:The Queen Was in the Parlour
818:"Taking on a Coward classic"
361:Third SS guard – Peter Drury
340:Mr Williams – William Murray
313:Frau Huberman – Betty Woolfe
219:Alma Boughton – Helen Horsey
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1145:The Girl Who Came to Supper
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416:State Opening of Parliament
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355:Mrs Massiter – Janet Barrow
297:Gladys Mott – Daphne Maddox
176:, who accepted a part, and
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16:Play written by Noël Coward
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304:Alfie Blake – Brian Carey
291:Mr Lawrence – George Lane
243:Mrs Grainger – Sybil Wise
240:Mr Grainger – Trevor Ward
160:proclaimed after meeting
1783:Plays about World War II
886:Noël Coward, A Biography
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511:Adaptations and revivals
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267:A woman – Stella Chapman
1788:English political plays
1778:Alternate history plays
1509:The Noël Coward Diaries
905:The Life of Noël Coward
824:(subscription required)
585:List of plays by Coward
186:Theatre Royal, Brighton
884:Hoare, Philip (1995).
154:British prime minister
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33:) and Doris Shattock (
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903:Lesley, Cole (1976).
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609:Book of Common Prayer
545:is a 1947 version by
117:to complete its run.
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1773:Plays by Noël Coward
1706:Waiting in the Wings
1447:The Astonished Heart
1388:Waiting in the Wings
1172:I'll Leave It to You
928:. London: Rockliff.
839:, 27 May 1989, p. 39
433:liberation of France
294:Maudie – Irene Relph
270:Chorley Bannister –
264:A man – Douglas Vine
1396:Suite in Three Keys
532:Main Street Theater
524:King's Head Theatre
461:The Daily Telegraph
279:Albrecht Richter –
158:Neville Chamberlain
52:alternative history
1493:Present Indicative
1097:Conversation Piece
1024:This Year of Grace
445:Critical reception
343:Stevie Shattock –
195:Shaftesbury Avenue
50:. It is a work of
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1591:Design for Living
1501:Future Indefinite
1415:In Which We Serve
1348:Peace in Our Time
1300:Design for Living
1016:On with the Dance
954:Peace in Our Time
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895:978-1-4081-0675-4
876:978-0-413-73400-6
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182:Peace in Our Time
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43:Peace in Our Time
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1722:Look After Lulu!
1714:Present Laughter
1698:Nude with Violin
1682:South Sea Bubble
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1356:South Sea Bubble
1332:This Happy Breed
1324:Present Laughter
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907:. London: Cape.
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1026:
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986:
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845:
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832:
826:
819:
814:
812:
803:
802:
797:
790:
788:
781:Coward, p. xi
778:
771:
766:
757:
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744:
735:
726:
717:
708:
706:
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695:Hoare, p. 372
692:
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680:
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669:
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659:
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629:
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508:
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492:
491:Blithe Spirit
488:
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475:
472:
471:Graham Greene
467:
463:
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457:
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451:
450:Harold Hobson
439:
438:
437:
434:
424:
420:
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412:
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396:Sloane Square
393:
392:Knightsbridge
378:
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369:
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336:Dandy Nichols
334:Lily Blake –
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318:
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296:
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284:
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281:Ralph Michael
278:
275:
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261:
257:
255:
251:
249:
245:
242:
239:
237:
236:Maureen Pryor
233:
231:
230:Elspeth March
227:
225:
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218:
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206:
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200:
196:
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191:Lyric Theatre
187:
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167:
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159:
155:
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147:
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138:
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132:
122:
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111:Maureen Pryor
108:
107:Elspeth March
104:
100:
96:
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91:Lyric Theatre
88:
84:
79:
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73:
69:
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60:Sloane Square
57:
53:
49:
45:
44:
36:
35:Maureen Pryor
32:
28:
27:Elspeth March
23:
19:
1741:High Spirits
1739:
1720:
1712:
1704:
1696:
1688:
1680:
1672:
1664:
1645:
1637:
1629:
1623:Pretty Polly
1621:
1613:
1605:
1599:Bitter Sweet
1597:
1589:
1581:
1573:
1567:Bitter Sweet
1565:
1557:
1549:
1541:
1533:
1507:
1499:
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1338:
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1322:
1314:
1306:
1298:
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1274:
1266:
1260:The Marquise
1258:
1250:
1242:
1234:
1226:
1218:
1210:
1202:
1194:
1186:
1178:
1170:
1164:The Rat Trap
1162:
1143:
1135:
1127:
1121:Ace of Clubs
1119:
1113:Pacific 1860
1111:
1103:
1095:
1089:Bitter Sweet
1087:
1068:
1060:
1054:
1048:Sigh No More
1046:
1040:Set to Music
1038:
1030:
1022:
1014:
1006:
953:
924:
904:
885:
867:Plays, Seven
866:
844:
836:
831:
821:
799:
777:
769:
765:
756:
743:
734:
725:
716:
711:Coward, p. x
679:
658:
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640:
632:
628:
607:
599:
540:
521:off West End
514:
497:
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490:
486:
476:
459:
453:
448:
430:
421:
413:
409:
405:
389:
367:
324:Philip Guard
260:Kenneth More
198:
181:
178:Dirk Bogarde
174:Kenneth More
171:
162:Adolf Hitler
139:
128:
119:
99:Kenneth More
80:
66:has won the
64:Nazi Germany
42:
41:
40:
18:
1690:Red Peppers
1639:Easy Virtue
1551:Easy Virtue
1520:Adaptations
1284:Post-Mortem
1220:Easy Virtue
1062:Oh, Coward!
993:Noël Coward
534:company in
272:Olaf Pooley
254:Hazel Terry
224:Bernard Lee
133:and end of
103:Bernard Lee
48:Noël Coward
31:Bernard Lee
1768:1946 plays
1762:Categories
1543:The Vortex
1236:Semi-Monde
1196:The Vortex
620:References
502:after the
345:Alan Badel
287:Dora Bryan
131:Liberation
125:Background
1666:Cavalcade
1575:Cavalcade
1364:Quadrille
1292:Cavalcade
1268:Home Chat
1204:Hay Fever
1137:Sail Away
991:Works by
934:470106222
837:The Times
801:Houstonia
499:Houstonia
142:appeasers
95:Alan Webb
58:close to
1105:Operette
1081:Musicals
749:quisling
605:Anglican
553:See also
538:(2014).
517:Broadway
386:Synopsis
87:West End
83:Brighton
62:, after
1733:Musical
1485:Memoirs
1252:Sirocco
859:Sources
536:Houston
504:Houston
164:at the
146:Gestapo
89:at the
72:invaded
1744:(1964)
1725:(1967)
1717:(1967)
1709:(1965)
1701:(1964)
1693:(1962)
1685:(1956)
1677:(1956)
1669:(1955)
1650:(2020)
1642:(2008)
1634:(2000)
1626:(1967)
1618:(1952)
1610:(1942)
1602:(1940)
1594:(1933)
1586:(1933)
1578:(1933)
1570:(1933)
1562:(1930)
1554:(1928)
1546:(1928)
1538:(1927)
1512:(1982)
1504:(1954)
1496:(1937)
1477:(1964)
1469:(1960)
1450:(1950)
1442:(1945)
1434:(1945)
1426:(1944)
1418:(1942)
1399:(1966)
1391:(1960)
1383:(1959)
1375:(1956)
1367:(1952)
1359:(1951)
1351:(1946)
1343:(1941)
1335:(1939)
1327:(1939)
1319:(1936)
1311:(1934)
1303:(1932)
1295:(1931)
1287:(1930)
1279:(1930)
1271:(1927)
1263:(1927)
1255:(1927)
1247:(1926)
1239:(1926)
1231:(1926)
1223:(1925)
1215:(1925)
1207:(1925)
1199:(1924)
1191:(1923)
1183:(1922)
1175:(1920)
1167:(1918)
1148:(1963)
1140:(1961)
1132:(1954)
1124:(1950)
1116:(1946)
1108:(1938)
1100:(1934)
1092:(1929)
1073:(1972)
1065:(1972)
1057:(1968)
1051:(1945)
1043:(1939)
1035:(1932)
1027:(1928)
1019:(1925)
1011:(1923)
1000:Revues
932:
911:
892:
873:
770:Quoted
633:Quoted
427:Act II
368:
109:, and
1527:Films
1458:Prose
1407:Films
1156:Plays
591:Notes
402:Act I
930:OCLC
909:ISBN
890:ISBN
871:ISBN
489:and
394:and
543:BBC
452:in
193:in
156:,
148:'s
56:pub
1764::
1658:TV
820:,
810:^
798:.
786:^
700:^
688:^
667:^
464:,
398:.
105:,
101:,
984:e
977:t
970:v
936:.
917:.
898:.
879:.
804:.
612:.
37:)
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