This chapter provides a partner to Vivien Gardners examination of theatre-going in Chapter 4. It examines the social and economic context of wartime theatre production, considering the ways in which the conflict impacted on theatre and shaped what could and could not be performed. It covers the practicalities of theatre-making during the war considering the enlistment of actors, touring patterns, the repertory system, censorship, military tribunals, and air raids. It positions the war as a period of change, whether in terms of the growth of cinema, the increasing role of women, changing sexual mores, or changing audiences. It shows how managers responded to this change in order to keep their businesses afloat, for example with the introduction of twice-nightly performances. The chapter also emphasises the importance of understanding the value of ‘feel-good’ entertainment, and shows how the interweaving of ‘new drama’ and multi-mode, popular entertainment on the touring circuits was designed to satisfy audience demand. In highlighting the ways in which the constraints of war determined both the format and content of theatrical production this chapter provides an important framework through which to read subsequent chapters.