The Introduction establishes the distinctive focus and range of contributions within Shakespeare at War. This transhistorical material history prioritizes how Shakespeare is used at times of war from the mid-eighteenth century to the present, and shows how this focus sheds light on some of the core political issues dominating a conflict, the wartime role played by the arts, and the shifting cultural capital of Shakespeare for different communities. The Introduction argues for the importance of a ‘material’ emphasis: all contributions use a significant archival object as their starting point in order to establish how these items can help us recover different wartime stories, voices, and perspectives. In place of a single, linear history, our aim – through the structure, content, and material focus of the collection – is to embrace a plurality of histories. The Introduction also contextualizes the diversity of its twenty-six contributions: nineteen are essays by Shakespeare scholars, war historians, or public figures who have served in the British Army, while the remaining seven are by theatre directors who have directed Shakespeare while the UK was at war or have set their productions at times of war to encourage audiences to think critically about the complexities of major conflicts.

Having explored the extensive amount of high-profile, large-scale theatrical activity at Bournville that took place before the factory’s first dramatic society was established in 1912, Chapter 5’s focus is the emergence of this group, its key players, and the connections between the society, Birmingham Repertory Theatre, and the city’s wider cultural networks. Cadbury’s first recreational theatrical society proved a useful resource for the firm, and its repertoire, personnel, wartime activity, and programmed appearances at Bournville functions are explored alongside the challenges faced by leaders and members.

This chapter examines the early intersections between Peter Pears and Benjamin Britten, well before their American years (1939–42) and the official beginning of their romantic relationship, as well as the tenor’s early career. Pears’s earliest professional singing engagements began with the BBC Wireless Chorus, in the newly established Wireless Octet (renamed the BBC Singers B in March 1935) intended to function alongside the BBC Singers and take part in BBC Chorus performances and Promenade Concerts; he remained in these various ensembles until October 1937. In both late 1936 and late 1937, Pears travelled to the United States on tours with the New English Singers. In April 1939, Pears travelled to the United States via Canada with Britten. Pears’s career in the United States is explored, but more significant is his vocal study with Clytie Mundy, to whom he attributed the greatest growth in his emerging solo voice. On their return to wartime England, Pears and Britten registered for conscientious objector status. At the same time, Pears enjoyed considerable success as a leading soloist on the operatic (and touring) stage and in recital and BBC broadcasts with Britten.

On 13 September 1947, four Australian officers arrived by air in Batavia (now Jakarta), the capital of the Netherlands East Indies. The four represented all three services: they were led by Brigadier Lewis Dyke, who was accompanied by Major David Campbell, Commander Henry Chesterman and Squadron Leader Lou Spence. They had arrived to oversee a ceasefire, and the next day they split into two groups and went into the field. They were the first UN peacekeepers, and for Australia represented the start of a continuous record of service in peacekeeping that lasts to the present day.