This chapter demonstrates how, whilst classical theatre was largely side-lined by the necessities and appetites of a new wartime culture, Shakespeare, followed an entirely opposite trajectory, rising even higher following a century of increasing British bardolatry. In considering the popularity of Shakespeare during the war the chapter considers the context of the Tercentenary, the Shakespeare Hut, and the use of Shakespeare for fundraising. It shows how throughout the war Shakespeare was used as a patriotic tool in performances both at home and at the front. In examining these performances the chapter also emphasises how Shakespeare would mix with comedy skits, and classical themes of royal demise or the rise and fall of empires would appear in snappy one act-ers. In considering classical theatre more broadly, the chapter shows how classical themes and narratives were drawn on to make sense of war. It focuses in particular on new plays which took up classical themes or modes such as Drinkwater’s X=0 and Masefield’s Philip the King and shows how the use of the classics changed as the war progressed. Overall the chapter shows how the war catalysed already changing attitudes to the divisions between high and low culture