Titlebook: British Theatre and the Great War, 1914 - 1919; New Perspectives Andrew Maunder Book 2015 The Editor(s) (if applicable) and The Author(s) 2

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Palliative Pantomimes: Entertainments in Prisoner-of-War Campser World War II that ‘a(chǎn) prisoner of war is a man who tries to kill you and fails, and then asks you not to kill him’.. Though undoubtedly individuals surrendered, it was more common for members of a platoon or company to surrender en masse. It was safer to do so. The statistics speak for themselves:

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Introduction: Rediscovering First World War Theatre taken place over the last one hundred years, and which the centenary commemorations beginning in 2014 have thrown into sharp relief. In the immediate aftermath of the war, the theatre industry was heralded as an integral part of the war effort, an example of the way Britain and her empire had pulle

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Reclaiming Shakespeare 1914–1918He asserted that ‘it would be […] foolish to deny that […] the London playhouses for the most part sank into becoming the purveyors of the cheapest entertainment’.. Later the distinguished . likewise proclaimed that ‘it was not only problem plays that were swept off the board, but nearly all plays o

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On the Edge of Town: Melodrama and Suburban Theatre in Brixton, 1915e photographs, posters, reviews and reminiscences. We also, as Steve Nicholson has shown in Chapter 2, have play texts and censors’ reports in the Lord Chamberlain’s archives and, in some cases, correspondence with managers. On the other hand, the actors who performed in these venues have tended to

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‘A Sweet Tribute to Her Memory’: War-time Edith Cavell Plays and Filmstenced to death by firing squad by a military tribunal of the German General Government of occupied Belgium. Their charge was ‘treason in time of war’ under Paragraph 58 of the German Military Code, which prohibited ‘conducting soldiers to the enemy’. Under a decree of June 1915 issued by General Mo

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The Theatre of the Flappers?: Gender, Spectatorship and the ‘Womanisation’ of Theatre 1914–1918l the fault of ‘the flappers. and the aged gentlemen who loved “Hilloa Twaddle!”’ He exonerated the soldier who, ‘being a good-natured man, went to see those appeals to the immature and the senile simply to humour [the] civilians’.. Ten years later Ervine was describing the ‘womanisation’ of theatre

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The Epitome of National Life: Metropolitan Music Hall and Variety Theatre, 1913–1919ch the poet imagines a tank ‘lurching’ down the aisle of a raucous variety theatre to wreak havoc on both its complacent audience and the ‘harlots’ in its chorus line.. On the one hand, it is a neurasthenic fantasy, on the other it is a statement which encapsulates two features that came to define l