While it is sometimes claimed that, during the American Revolutionary War (1775–83), there were no theatrical performances in the colonies owing to legislation passed by the Continental Congress, many did, in fact, still take place. Leading this provision of wartime entertainments were the British military in occupied New York, and this chapter concentrates on their performances at John Street Theatre – renamed the Theatre Royal – including their repertory of Shakespearean plays. In this context, wartime theatre was a clearly political act: the individuals involved in these productions were both theatrical and military actors. Chapter 2 examines the operations of this wartime theatre and the range of repertory performed by the British military, including their prioritization of Shakespearean plays that feature monarchical structures of government – such as Richard III and Macbeth – over classical histories such as Julius Caesar that carried a republican ethos. These productions were used by some as a form of propaganda and the chapter re-evaluates this term to show how Shakespeare and the theatre more broadly were weaponized during this conflict.

This chapter presents the history of the third group of Madagascar Youths who Radama sent abroad as a result of the Britanno-Merina alliance. This group comprised the youths who from 1824 served as apprentices on British naval vessels under the Cape Command, one of the main tasks of which was to counter the western Indian Ocean slave trade. The chapter examines the role of Madagascar in the regional slave trade, the strategy adopted by the British to suppress that trade, notably the desire that Radama build a navy to patrol Malagasy waters, and the training of a select group of Madagascar Youths aboard British naval vessels in the expectation that they would subsequently man Radama’s fleet.