During the Second World War, the British state invested in theatre for the first time through two main organizations: the Council for the Encouragement of Music and the Arts (CEMA) and the Entertainments National Services Association (ENSA). Chapter 5 argues that official records and publications linked to CEMA and ENSA tend to stress the ‘apolitical’ currency of Shakespeare – that performances symbolize the pre-war cultural heritage that was under attack in this war against fascism – and favour plays that do not have, in subject matter, direct wartime application, such as The Merry Wives of Windsor. This emphasis exists, however, in tension with the aims of individual production agents associated with CEMA and ENSA, such as Sybil Thorndike and Lewis Casson from the Old Vic. Shakespeare could be, for example, mobilized as explicitly anti-Nazi, socialist, or pacifist, sometimes within the same production. By examining productions that toured to regional towns and industrial cities across Britain and Europe, this chapter draws attention to the community-building impact and soft power of live theatre and breaks down the distinction between ‘apolitical’ and ‘political’ Shakespeare, suggesting that almost any production during this period of total war was a distinctly ‘political’ act.

A photograph from 1941 shows a hall in use as a feeding centre for destitute families. In the background, the Old Vic theatre company sets up for a performance. Part of a Ministry of Information series documenting the Old Vic’s tour of the South Wales coalfields (1941), it serves as a reminder of economic failure in early twentieth-century Britain. The Old Vic, a home for Shakespeare, opera, and ballet since before the start of the First World War, was one of a number of pre-war and wartime organizations bringing art and education to the people. It was their approach to art for all which largely inspired the establishment of the government Committee (later Council) for the Encouragement of Music and the Arts (CEMA), the forerunner of the Arts Council. A Ministry of Information film (1942) by Dylan Thomas, Alan Osbiston, and others that documents CEMA’s work shows the arts as an essential and productive part of the war effort, while also making the Keynesian economic case for arts funding. Modest financial support for the arts creates employment (including manual jobs) and life-enhancing consumption (theatre-, gallery-, and concert-going). Since no physical goods are involved, money circulates in the economy without inflation.