the theatre in emergency

THE THEATRE IN EMERGENCYAuthor(s): Basil DeanSource: Journal of the Royal Society of Arts, Vol. 88, No. 4566 (JULY 26th, 1940), pp. 759-775Published by: Royal Society for the Encouragement of Arts, Manufactures and CommerceStable URL: http://www.jstor.org/stable/41359622 .

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JOURNAL OF THE ROYAL

SOCIETY OF ARTS

N0.4566 FRIDAY , JULY zbth, 1940 Vol. lxxxviii

PROCEEDINGS OF THE SOCIETY

EIGHTEENTH ORDINARY MEETING

Wednesday, Apríl 24TH, 1940

The Rt. Hon. Harold Nicolson, C.M.G., M.P., in the Chair

THE THEATRE IN EMERGENCY

By Bastl Dean, M.B.E. Director of Entertainments, Navy, Army, and Air Force Institutes.

The careless peacetime view usually held both by government and public in this country that theatrical entertainment- and for the purposes of our present consideration I would include in the description all forms of what is more racily termed " show business" by the Americans - is a luxury, fit only to be used as a happy hunting ground for predatory Chancellors of the Exchequer, speedily gives place to a different attitude when the nation is immersed in war. It was so in the first Great War ; it is so in the second. In both cases there was an opening period of dismay when theatres remained closed or denuded of their audiences. Then the urgent human need for relief from the prevalent anxieties asserted itself. In the last war, as you will recollect, all entertainment houses enjoyed tremendous commercial prosperity. The same thing has begun now.

In our survey of the present position we must be careful to preserve a reasonable attitude of mind. It is quite useless for people like Mr. Shaw to inveigh against the inevitable decline in popular taste. At a time like this aesthetics scarcely enter into it ; it is the simple human needs that are paramount. Men and women, civilians and fighting men alike, require cheering up, so they instinctively turn to the lighter forms of entertainment. Some of those forms

759



760 JOURNAL OF THE ROYAL SOCIETY OF ARTS July 26, I94O

are undoubtedly reprehensible ; some may even be described as indecent ; but that is no justification for losing our sense of proportion in considering what is, after all, but a passing phase.

This question of preserving a sense of proportion in our judgments, and of viewing present day occurrences in true perspective is an important one. If we do that, then we shall not mistake the spurious for the genuine article, and grumble because the latest wartime revue contains neither profound observation nor rare wisdom. I think I detect something of this confusion of values in the recent agitation regarding what are called " strip-tease

" performances and

nudity generally on the stage. These stupid performances have nothing whatever to do with the true theatre ; they are a sort of waxworks, and as dull as if all the figures in the Chamber of Horrors had been denuded of their costumes, leaving only the frames. But we should perhaps pause a moment to consider the columns of correspondence that have recently appeared in the press on this subject. The agitation of morality councils, purity leagues and " what not " is only justifiable if it confine itself to the wartime aberration of nudity and indecent suggestion on the stage or in the music hall. Care must be exercised lest in the national distraction opportunity is not taken of interference with the only half-won battle for the freedom of the true theatre. Licence is not liberty. Nudity is simply licence, and will be swept away ; but let us be on our guard lest in its passing it carries away with it for ever the still contested right of serious artists of the theatre to speak their minds freely upon vital matters either of sex or politics or religion - the three great matters for which men have dipped their pens in blood in order to write their thoughts. It is for this reason that I spoke just now of the real danger of a confusion of values when discussing temporary wartime theatrical entertainments.

The position that radio holds in people's minds in relation to wartime entertainment is interesting. Experience shows that it is only those broadcasts that are really down to earth, that touch the heart whether by means of laughter or tears that have genuine human appeal at this time. Hence the prophets of disaster who were heard when the radio was first invented, and who cropped up again at the outbreak of the present war with the statement that all wartime entertainment would have to be broadcast and that the theatre would disappear for the time being, are once again confounded. The truth is that humanity in times of emergency seeks emotional appeal rather than the appeal to reason ; and the amount of the former appeal to be obtained from broadcasting is strictly limited.

Although much of the work now going on in the theatre is of the lighter, not to say frivolous, kind, and we need not worry too much about it, that is not to say that all genuine creative effort in the theatre has ceased. Obviously not. It is a matter for congratulation that the few serious plays now being presented in London are well supported by those whose need for culture is ingrained and part of the very stuff of their lives.



July 26, 1940 JOURNAL OF THE ROYAL SOCIETY OF ARTS 761

The needs of the nation as a whole in the matter of entertainment repeat themselves in the case of the fighting forces. This is only to be expected where you have a large mass of the civilian population suddenly transported into military life. Whereas warfare used to be a matter for small bodies of professionals it is now the bitter concern of whole nations. The transfer from professionalism to totalitarianism in the army began to take place during the Great War of 1914-1918. Consequently it was during that time that we began to observe the introduction of civilian needs into Army life. Amongst these needs may be mentioned entertainment, which gave some scope for the citizen soldier's desire for a larger life than that envisaged by his professional comrade, even though they were both fighting their country's battles.

In the first years of the last war the Army Generals secretly regarded entertainment as a serious interruption of the work of training and discipline. Later, they reached a better understanding of the psychology of the new armies. Ultimately official and semi-official efforts were made by the fighting services to provide entertainment for themselves, not only by means of garrison theatres and cinemas, but also by many Army and Navy concert parties recruited from amongst the men themselves. Entertainments were given both at home and overseas, where also Miss Lena Ashwell's professional concert parties did invaluable work. The Entertainment Branch of the Navy and Army Canteen Board, for which I was responsible during the latter years of the Great War, became a very large organisation, and ultimately was providing regular professional entertainment at home for some 200,000 men a wTeek.

At the outbreak of the present war we were better prepared. I now propose to tell you something of the story of E N S A - The Entertainments National Service Association. Shortly after the September crisis of 1938, it was indicated to me that, in the event of war, the official work of entertaining the troops both at home and abroad would probably be entrusted to the Navy, Army and Air Force Institutes. Accordingly I held preliminary conversations with various professional friends, notably Mr. Leslie Henson, Mr. Owen Nares and Mr. Godfrey Tearle, with a view to drawing up a report and plan of organisation for the authorities in the light of past experience and present-day conditions. This report was submitted to the N.A.A.F.I. Corporation on April 18th, 1939. The main principle underlying the report was that the entertainment world should be left free to carry out the work at which it was expert, and that the Entertainment Branch of the Corporation should deal with the control and administration of entertainments. This report was eventually approved by the War Office. In accordance with the plan laid down therein the Entertainments National Service Association came into being as a voluntary mobilisation of all sections of the entertainment world for the purpose of providing all types of entertainment for the troops that might be required from time to time by N.A.A.F.I. Sir Seymour Hicks was invited to become the first President, the title of his office being changed to

" Controller " when active work began.



762 JOURNAL OF THE ROYAL SOCIETY OF ARTS July 26, 194O

The Entertainment Branch of N. A. A.F.I, was mobilised on Tuesday, September 5th, 1939. Meanwhile, many leading personalities of the entertainment world had accepted either the chairmanship or membership of Sections of E N S A. Upon the following Monday, September nth, Drury Lane Theatre was taken over by N.A.A.F.I. for the use of its Entertainment Branch and for E N S A. The Corporation has recently made arrangements whereby Drury Lane will remain the national headquarters of our work for the duration of the war. The list of E N SA Sections was then rapidly extended and their membership completed. E N S A is now fully representative of the entertainment world.

It is worthy of note that the first E N S A concert was given at Old Dean Common Camp on Sunday, September 10th, 1939, and on Monday, Sep- tember 25th, two weeks later, the regular supply of entertainment began, when twelve concert parties were sent out, two to each of the Home Commands. One week later cinema entertainment began, being provided by means of mobile cinema units. From that date up to and including Saturday, April 20th, 1940, the total number of admissions to N.A.A.F.I. shows at home organised by E N S A is 2,890,143. At Christmas time the number of performances (both living and cinema) being given per week in Home Commands alone was about 1,000. At present the number of performances is about 600 ; but this is expected to rise again when the supply of entertainment for canvas camps begins, despite the light evenings in the summer.

Regarding the figures for overseas, general distribution of both living and cinema entertainment for the B.E.F. began on November 22nd, although cinema entertainments were provided for a certain Section of the R.A.F. in France some weeks prior to that date. Also, certain concerts were given in advance of the general scheme by Miss Gracie Fields. Disregarding the number of attendances at these preliminary entertainments, of which no record has been kept, from November 22nd up to and including Saturday, April 20th, the total number of admissions to entertainments overseas is 1 ,73 1 ,3 1 1 . The number of performances per week in the B.E.F. at Christmas time was about 200, including, of course, living and cinema entertainments. The number of performances per week at the present time is about 450. The total number of artists who have been employed at home and abroad to date is 5,562, and the total number employed each week, including actors, actresses, variety artists, musicians, etc., is nearly 750. I am satisfied that the principle of leaving the entertainment side of the work to professional people has been an unqualified success. In no other way could such a huge volume of entertainment have been provided in so short a space of time.

The following is the list of Sections of E N S A that are now in operation, together with the names of their Chairmen : Concert Parties and Sing-Songs - Mr. Greatrex Newman ; Concert - Mr. Thorpe Bates ; Dance Bands- Mr. Jack Hylton ; Hospital Concerts- Dame Sybil Thorndike and Miss Lilian Braith- waite ; Musical- Sir Thomas Beecham, Bt. ; Musical Plays- Mr. Leslie Henson ; Overseas- Miss Lena Ashwell, O.B.E. ; Plays- Mr. Godfrey T earle ;




Revue - Mr. Jack Buchanan ; Variety - Mr. Will Hay ; Variety Theatres - Mr. George Black. Sir Kenneth Barnes, M.A., is the General Secretary of E N S A and Liaison Secretary with the Entertainments Branch of N. A.A. F.I. A Lectures Section under the Chairmanship of Miss Lena Ashwell and including amongst its members Air Commodore Page, the Hon. Harold Nicolson, M.P., Mr. A. P. Herbert, M.P., and Sir Kenneth Barnes has recently begun work.

Influential Regional Committees have been formed in each of the Military Commands. It has been our endeavour to include in the membership of these committees not only prominent citizens in the districts concerned but also leading theatrical managers in the provinces, and distinguished amateurs, some of whom have been suggested by the British Drama League. In making up the various Regional Committees we have endeavoured not to lose sight of the fact that E N S A is mainly professional in its composition and in its attitude towards the work to be done for the troops.

The following is a list of E N S A Regional Committees and their respective chairmen :

Eastern Regional Committee - Viscount Esher, M.B.E. ; Northern Regional Committee - Mr. E. J. Hinge, Chairman of the C.E.A. ; Scottish Regional Committee - Sir Harry Lauder ; Southern Regional Committee - Mr. Emile Littler ; Western Regional Committee - Col. Sir John Shute, C.M.G., D.S.O., M.P. ; Northern Ireland ENS A - Mr. Alexander Dalzell, J.P. Sir Kenneth Barnes, M.A., is the General Secretary of E N S A and Liaison Secretary with the Entertainment Branch of N.A.A.F.I.

The following are brief accounts of the work of the E N S A Sections : Concert Parties. - Thirty different concert parties have been engaged from

time to time (including those provided by the Scottish Committee) and the total number of artists regularly engaged in this work is some 273.

Concerts Section. - 526 individual concerts have been given up to the present time, providing separate engagements for (approximately) 3,216 artists. Recently this section have been giving a certain number of classical concerts at the request of Commanding Officers. In each case artists prominent in the concert world have given plebiscite programmes, chosen by the officers and men. These classical concerts have been an unexpected success.

Plays Section. - The work of the plays section did not begin until November, largely because there were at the outset practically no buildings available to receive ordinary stage productions. But very shortly the Entertainment Branch of N.A.A.F.I. will be running a circuit of camp theatres in military centres and R.A.F. stations that will enable companies to tour consecutively for three or four months. Meanwhile, despite the restricted conditions, 347 performances of stage plays have already been given. The work of this section has now been extended to large towns behind the lines of the B.E.F. in France.

Variety Section. - Over 790 variety performances have been given in this

country. In the home units, 375 acts have been engaged and in all 757 artists




comprising those acts. Several music hall units have been sent overseas, consisting in all of about 80 different acts. Since this section began work over 2,000 acts have been interviewed and auditions have been given to 400.

Dance Bands. - 44 different dance bands, including nearly all the famous dance band leaders have given concerts. The total number given in this country alone is 250, employing 772 musicians. Many famous dance band leaders have already gone to France, where they have been outstandingly successful.

Hospital Concerts. - This section under the joint chairmanship of Dame Sybil Thorndike and Miss Lilian Braithwaite has done notable work. It has already given 98 concerts and is now carrying out a wide extension of the work. The type of concert given has already been specially selected with a view to the particular needs of the patients.

Overseas Section. - This section is mainly concerned with the organising and selection of companies for the work overseas. Although its work did not begin until towards the end of November, 56 companies have already gone overseas employing over 800 artists. A large number of stars have also gone overseas, including Sir Seymour Hicks, Gracie Fields, Leslie Henson, Jack Buchanan, Claire Luce, Mai Bacon, Binnie Hale, Violet Loraine, Lupino Lane, Ralph Reader, Will Fyffe, George Formby, Joe Loss, Billy Cotton, Jack Hylton, Victoria Hopper, Arthur Askey,

" Stinker " Murdock, Denis Noble, etc. Sing- Songs. - This section began work in the middle of November, 1939.

It provides parties of three or four who tour the smaller camps in a small van, equipped with a piano and supplied with sheet music. This type of entertainment requires no stage appointments and is designed to supply the entertainment needs of lonely, isolated units. During the month of April, it had 17 parties working in England and Wales. At the present moment there are eight sing-song parties at work overseas. The section also provides a very large number of accordion players who give one-man concerts to searchlight units and other very small concentrations. The total number of artists engaged by this section since its beginning is 154. The average number of shows given in England per week is approximately 100 sing-songs, whilst accordion players average between 100 and 125 shows per week. The approximate mileage done by sing-song vans to date is 113,500 miles.

Wrestling. - This has been an outstanding success. The Lectures Section began operations overseas on March 8th. A large number

of well known and distinguished lecturers are visiting the B.E.F. at regular intervals. It is important to stress that these are entertainment lectures and not given solely for the purpose of education. Lecturers already sent out are James Hogan, the well known Aston Villa Football Club Manager ; Bernard Newman who has lectured on " The Maginot Line " ; Philip Allingham on "The Adventures of a Cheapjack"; George Baker, "The Story of Gilbert & Sullivan and their Operas"; Sir Paul Dukes, "Secret Service in Finland and




Russia"; Selwyn Driver, "Seeing Life in Many Lands"; F. S. Smythe, " Himalayan Adventure " ; and Philip Knowling,

" Vagabonding Round the

World." Lecturers who will be going out shortly include the Hon. Harold Nicolson, M.P., on " How the German Thinks " ; Capt. C. W. R. Knight, 44 Adventures with Eagles & Wild Animals " ; Nel Tarleton who is the Feather- weight Boxing Champion of the British Empire ; Capt. Lawson Smith on "

Deep Sea Diving and Wreck Raising " ; Edward Broadhead, " Character

Studies in Costume " ; Col. Holman James, " Empire Life & Adventure " ; William Teeling,

" My Experiences of Nazi Germany

" ; and Edgar March on " Round the World in a Sailing Ship."

Cinema. - First of all, the fantastic stories that were circulated in the press some time ago to the effect that the N.A.A.F.I. Corporation had failed to secure the support of that powerful major half of the entertainment world, namely the cinema, and that in consequence the men were being deprived of the films that they were entitled to expect, were and are entirely false. Before the outbreak of war I invited the Kinematograph Renters' Society, which controls all the major British and American films, to form a parallel organisation to that of E N S A upon wThich the N.A.A.F.I. Corporation could indent for their supply of films. There was a certain amount of delay about this, due to a lack of appreciation of the true position on the part of the War Office. Eventually by persistence and tact, and as a result of representations made by the N.A.A.F.I. Corporation, the matter was straightened out and the Committee originally asked for has been set up and is in active operation. It is known as 11 F.E.N. S.A."

The number of mobile cinemas servicing the United Kingdom is thirty-four 16 mm. and one 35 mm. units. Their range of activity covers all England, Scotland, Northern Ireland, Wales, Orkneys, Shetlands, Isle of Man, Isle of Wight and Channel Isles, and we have given more than 300 shows in one week. The cinemas travel approximately 9,000 miles weekly, journeying to some of the remotest villages and hamlets, the place names of which do not appear on many maps. Most of the cinemas are equipped with self-generating plant, enabling them to show in places where no electric current is available. In France there will shortly be twTelve 35 mm. and sixteen 16 mm. mobile cinemas in constant operation ; they have given as many as 250 shows in the course of a week. Generally speaking, films are shown to our troops in France many months before their general release in England. I cannot speak too highly of the wonderful co-operation afforded to the whole scheme by the cinema industry, and especially the British and American distributors. Although some of the American companies have not yet given their consent to the reduction of their latest full- size films to 16 mm., we must not be critical on that account. A very important business principle is involved, and any abuse of privileges granted might bring about serious trade difficulties. Nevertheless, since the British Empire is such a very important customer of the American cinema industry - it depended upon out markets in peace time to provide its profits, whilst recouping its production




expenses from the U.S.A. - and because, for reasons of military exigency we are allowed to use only 16 mm. films in the forward positions of the British Army, I am hopeful that eventually all American companies will fall into line with those who have already agreed to supply us with special copies of their latest pictures reproduced on sub-standard film.

Co-operation with Amateur Effort The main basis of the E N S A organisation is professional both in character

and spirit. This is exemplified by the fact that its financial arrangements for the payment of artists and musicians and for the exclusion of service entertainment in districts where civilian enterprise is available have been worked out in close co-operation with the various professional bodies concerned. Nevertheless, neither the N.A.A.F.I. Corporation nor E N S A has at any time discouraged the giving of amateur entertainment to the men. Furthermore, many of the E N S A regional committees include prominent members of the British Drama League and others interested in the amateur drama, so that useful contact is maintained with this extremely important subsidiary supply of entertainment. But a strong plea has recently been entered with the Service Ministries for the proper co-ordination of this subsidiary entertainment, so that such questions as payment of

" semi-professional

" or amateur artists, the granting to them of special petrol permits, the fees to be paid for plays or songs, the prevention of overlapping with professional entertainments and the question of charges for admission to amateur performances may be peacefully adjusted, so as to do harm neither to the achievement of the mutually-desired objective, namely, the entertainment of the men, nor to the legitimate professional interests of the entertainment industry. At present no such co-ordination exists ; and it is thought to be in the public interest that it be arranged as speedily as possible.

The Military Concert Party Section at Drury Lane is expanding rapidly. It now provides, through the co-operation of the various professional sources, an increasing number of experienced producers of light musical entertainment, together with a selection from the best-known works of our favourite revue writers, who have generously helped our labours. Furthermore, the War Office has just approved a scheme that we have been working on for some time, whereby the best-known army bands will from time to time be used in conjunction with E N S A artists to give additional concerts in their spare time to the troops both here and overseas.

Canvas Camps N.A.A.F.I. is about to undertake the provision of entertainment upon a large

scale to all the men under canvas in this country during the summer. The organisation of this is a full-scale job, for I am informed that not less than fifty entertainment managers will be required. Entertainment tents will be open all day long where the men can enjoy dart contests, ping-pong tournaments, with




concert parties at night. I am also trying to see whether some daylight cinemas can be obtained. In certain of the situations we shall run our regular mobile cinema service. We are at present experimenting upon some means of darkening the interior of the tents, so as to make this possible.

Rationing of Entertainments You wTill want to know how all this huge mass of entertainment is distributed

and allocated to the various military and R.A.F. units at home, so that all men have a fair share of what is available. I will tell you. First, as to the entertainment at home. At the outset every enterprising officer who wanted his men to be entertained, telephoned, wrote, or sent a telegram to Drury Lane. The demand was so enormous that chaos speedily ensued. However, after a week or so a stop was put to this ; and eventually each Home Command was invited to appoint an entertainment officer, attached to headquarters. The Command headquarters then appointed area entertainment officers responsible to the Command entertainment officer for the distribution to individual units of such share of the Command ration as was allocated to them. I should like to make it clear that this was done without additional cost to the country, since these officers under- took this work in addition to their existing onerous duties. Once a month all the E N S A people responsible for the provision of the various kinds of entertainment required by N.A.A.F.I. meet together in conference, when the amount of entertainment that can be provided from the monthly financial allowance is settled. These conferences are now held at the beginning of each month ; the allocation of entertainment is then settled for the next month, thus giving plenty of time for the necessary Command arrangements. There is close co-ordination as between the Drury Lane headquarters and the military command headquarters and the E N S A regional committees. The latter assist the work by helping to maintain co-ordination in their areas, by supplementing the work of headquarters, more especially in the provision of Sunday concerts in the winter months and by furthering the supply of entertainment to military hospitals.

Prices of Admission It was early realised that something would have to be done to alleviate the

heavy financial burden of providing this huge mass of entertainment. It was decided after about two and a half months of free entertainment that charges for admission, similar to those made during the last war, should be instituted. The following is the present scale of charges :

Categories A and В : Officers, is. All other ranks - prices graded down to 3 d. Category С : Officers, 6 d. All other ranks, 3 d. Category D : All these entertainments are given free. Hospital entertainments are also free.

Having grown accustomed to free shows the troops had difficulty in realising that any reduction in the total overhead cost consequent upon charges for admission would enable us to provide more entertainment. Owing to the high




cost of transport and the necessity of giving shows to very small audiences it is obvious that these service entertainments can never be expected to pay their way.

Authorised Attendances Under arrangements made with H.M. Customs and Excise and other

authorities, the only persons to be admitted to any entertainments provided by the Corporation are :

(a) Members of H.M. Forces in uniform ; ( b ) Their families ; (c) Their female friends ; ( d ) Civilians employed by the Admiralty, War Department and Air Ministry and holding passes as such.

Entertainments for the B.E.F. The organisation in France that receives and distributes entertainment, in

conjunction with the military authorities, is known as E.F.I. Entertainments. The system of administration is completely military in form and is responsible to the Q.M.G., B.E.F.

For entertainment purposes the zones of the British Army are divided into areas ; there is an entertainment post in each area under the command of a captain who is a commissioned officer of the R.A.S.C. with actual fighting experience in the last war and subsequent experience in the entertainment world. There is a senior officer in charge with the rank of Major. Each post has a proper complement of commissioned N.C.O.'s and men who receive the entertainment, arrange for its allocation in conjunction with entertainment officers appointed by the army, supervise the transport, the arrangements for the taking of entertainment buildings and the running of the many cinema performances and so on. As in the case of home commands, a regular supply of E N S A entertainment of all descriptions and categories is despatched from Drury Lane headquarters, together with the necessary technical equipment, films and so forth.

The records of all the artists sent out are carefully examined by the appropriate authorities in this country a considerable time before they are due to leave. Special permits are then issued to these artists, which permits are cancelled on their return to England. Conducting officers receive the parties at the various ports and convey them safely to their destinations. The entertainments are of all descriptions and, as in the case of home commands, the various categories refer to their size and not to the intrinsic qualities of the entertainments. Thus, category

" A " entertainments consist of theatrical and musical shows of all kinds that can stay for as long a time as four or five days in base towns. Category

" В " entertainments are smaller entertainments, corresponding very much to the divisional concert parties of the last war. These are conducted by motor lorry to the various military formations for which they are intended. Category С " consists of the entertainment lecturers, some of whom are




members of Parliament. In the case of Category " A " entertainments full

size 35 mm. standard film is used. In the case of Category " В " entertainments

the smaller 16 mm. film is used. The cinema performances have been an outstanding success. Every entertainment for the B.E.F. is separately reported upon by an officer of the unit to which the show has been given. In France Category

" A " entertainments only are charged at standard rates of admission : Officers, 10 frs. ; N.C.O.'s, 5 frs. ; Men, 2 frs. All other categories are free.

Middle East We are now under orders to provide entertainment in a similar manner but

011 a reduced scale for the Middle East. This supply will begin forthwith and will consist of both cinema and living entertainment.

Transport The fact that the majority of the entertainment provided is on wheels, has

called for a considerable outlay in transport vehicles. So far as living entertainment is concerned, specially equipped lorries in large numbers have been provided carrying portable stages and switchboards. These are accompanied by coaches for the transport of the artists. Specially fitted vehicles have been provided in large numbers for the mobile cinema units of both sizes. At home a large number of hostels have been opened by the Corporation under the control of the Hostels and Billeting Department at Drury Lane, in situations where no decent lodgings exist.

In France artists are lodged in suitable hostels or billets under the supervision of an experienced Welfare Officer who, I may say, is popular with the companies because of her unfailing patience, tact and concern for their comfort.

Suitability of Entertainments The difficulty of striking a happy medium in these service entertainments, so

as to entertain equally well the navvy and the clerk, is a considerable one. It is the same difficulty that exists in civil life in the cinema industry, and other types of universal entertainment such as that provided by the B.B.C. It is extremely difficult to maintain a high standard in such circumstances. The lowest common denominator is apt to be sought.

This brings up another question - vulgarity. Here I would like to read to

you an extract from orders which have been issued to all entertainment managers. The rules in this matter are strictly enforced :

" It is entirely erroneous to suppose that H.M. Forces expect vulgarity in their entertainments ; the supposition is a reflection upon the good sense of the artists as well as upon their audiences. Managers render themselves liable to instant dismissal, if, after due warning, they fail to carry out the explicit instructions of the Director of Entertainments regarding the total suppression of all vulgar or suggestive material."




You will realise of course that this is a very difficult matter to control, because sometimes commanding officers do not appear to hold such strong views on this subject as some of those who write complaints to the press. Also, although the artists are given the strictest orders they are sometimes excited by the rapturous reception they receive and slip in doubtful jokes. Encouraged by the resulting applause, they go a little further until finally they are pulled up by our officers. In bad cases, much to their chagrin, their contracts are shortened and they find themselves back in England almost before they realise what has happened.

The following is an extract from the report to the Central Committee of E N S A under the chairmanship of Lord Tyrrell, which report was subsequently unanimously adopted : " Due regard must be paid to the fact that in a citizen army all tastes and

opinions are represented. There are some who would regard our shows in too severe, not to say

' highbrow

' a light, whilst others seem to take 4 entertaining the troops

' as the opportunity for undue licence. The taste of the officers is not always the same as the taste of the men ; appreciation varies from unit to unit. We have had to steer a reasonable middle course."

Criticisms The provision of professional entertainment to a large army in the field upon

a continuing and, one might almost say, wholesale basis, is entirely without precedent in the history of this or any other country. Hence you will realise that in the early days we wTere pioneering. Obviously mistakes were made at first.

The necessity for secrecy in many situations in France was and is paramount. The most elaborate arrangements have to be made for the concentration of audiences in many areas, so as to avoid congestion on the roads or targets for the enemy. When all these arrangements are cancelled at short notice because of instructions from G.H.Q., you will appreciate that there is bound to be a certain amount of confusion. At the outset of the work before artists fully realised that they were engaged upon work of national importance under war conditions, some of them were inclined to go home and grumble, and seek publicity for their grievances. Many of their stories were greatly exaggerated by war correspondents who, frankly, had not got enough to write about. However, I am glad to say that all that is water under the bridge ; and that a reasonably good understanding now exists between all concerned. A certain amount of difficulty, too, was experienced in getting the right personnel. And at the outset the great success of the entertainments was a trifle embarrassing. When Gracie Fields suddenly communicated with me after her recovery from illness, and said she would like to do something on her way to Capri, I immediately communicated with G.H.Q. over the telephone. Up to that time we had been told by the authorities that




sooner or later, probably later, we might be allowed to provide living entertainment, but it would be of the male sex only in the forward areas. However, Gracie Fields duly appeared over there ; the men spent a magical day at her two concerts, and after that their commanding officers wanted living entertainment immediately. Frankly, we were not ready. True, our' cinemas were ready and operating successfully ; and plans for other entertainment had been approved, and our officers were in process of being commissioned. But you cannot walk into the War Office and say

" I want a Captain, please " ; you will realise that.

In this situation one of two courses lay open to us. I take the responsibility for the one adopted. It was a case either of providing the entertainment right away when it was asked for, and before adequate staff work had been completed, or of keeping the men waiting some six or eight weeks longer while the office administration was being prepared. As it was, the men got the entertainments, and - well - we got the criticism !

A very great number of letters has been received at Drury Lane from all sections of the Services, expressing high appreciation and gratitude for the E N S A entertainments. They refer to all kinds of entertainments, including lectures, and the work of producers in encouraging and training volunteers from among the men themselves, as well as concerts, plays, and other familiar kinds of entertainment.

General Finance In the original estimate that I prepared it was shown that a quarter of a million

sterling per annum might have to be expended ; actually it is likely to be a much larger sum. Yet I would not have you think that this is the result of extravagance. Those who think so are not doing justice to the great contribution to the national war effort which the entertainment industry is making by means of E N S A. Starting with headquarters, many of the most important executives at Drury Lane are working for nothing or for nominal salaries. By negotiation with the various trades unions concerned, artists and musicians appearing for the B.E.F. are paid at standard rates. Thus it costs no more to send Jack Buchanan or Leslie Henson to France than it does to send some comparatively unknown artist. The highest wage paid to artists appearing with the B.E.F. is £10 per week and the minimum wage paid is £4 per week. Chorus girls receive £3 per week. Certain artists, such as Gracie Fields, Will Fyffe, and others have taken

nothing at all. The average cost per entertainment in the Home Commands when the volume of entertainment was at the peak, including all charges for

transport, Drury Lane headquarters, etc., was only £7.

Relationship with N.A.A.F.I. I come now to the relationship between the N.A.A.F.I. Corporation and

E N S A. N.A.A.F.I. pays for everything ; E N S A has no money at all. This regular service of professional entertainment would have been quite



772 JOURNAL OF THE ROYAL SOCIETY OF ARTS July 20, 1940

impossible without the financial support of the Corporation. It must be borne in mind that N. A .A.F.I, stepped into the breach at the out-break of war and by reason of the financial provision which it made, provided the opportunity of a 100 per cent, professional service. That opportunity was grasped, and has proved successful. It would have been impossible to establish a regular service on such a scale by any other means. Spasmodic efforts by amateur entertainers could not have supplied the main bulk of what the army required within the time needed. Furthermore, by the development of a large central organisation the equipment of over 40 garrison theatres and camp halls with both theatrical and cinema fittings has been standardised with resultant economy. If the country should decide to continue the use of some of these camps and stations for recreational or educational purposes in peace time these buildings will be of genuine value.

When the work began, it was intended that entertainment should be only an additional amenity provided by the N.A.A.F.I. Corporation : the present unusual circumstances were not foreseen. But it has proved a fortunate circumstance for the troops that the original scheme was made flexible and proved capable of such rapid expansion, as a nation-wide organisation has been created in an incredibly short space of time, one which is of real value in maintaining the morale of the fighting services. I do not think sufficient recognition has been given to the Corporation's help in this urgent national problem.

Maintenance of Supply The question of how to maintain the supply of entertainment when the

higher age groups are called upon to register for military service has been engaging our attention for some time. I hope that I have said enough this afternoon to convince you that this really is work of national importance. But E N S A is not advancing any loose claims to exemption for theatrical people on that account. The country would rightly reject such a notion. There was recently a correspondence in one of the papers on this subject. Bernard Shaw, amongst others, advanced claims for the exemption of ballet dancers ; later a body called The Art and Entertainment Emergency Council put forward claims for all sorts of artists, which were promptly repudiated by other artists in the same field. It is the old story of the conflicting claims to integrity of the creative and of the interpretative artist. After the correspondence had proceeded for some time attempts were made by sensible people to point this out ; but I do not think the arguments were clearly expressed nor were they driven home. The genuine creative artist will not seek to stand aside from national experience. If he were to do so his power of creation would speedily be stultified ; and national expression would inevitably seek other channels, leaving the creative artist who had shunned experience derelict by the wayside. As to the interpretative artist, this is a somewhat different thing, because many of these




are dependent upon prolonged training and certain physical characteristics for their livelihood. I refer to such things as the hands of the violinist or of the pianist. There certainly does seem to be a case for such of those interpretative artists of the entertainment world as are not likely to make first class soldiers and are in lower medical categories than " A " not for their total exemption from national work, not at all ; but for their recruitment into special companies where their talents may be exercised for the benefit of the whole of the fighting services, rather than for the benefit of particular divisions into which they may find themselves accidentally recruited ; and where they will probably first go through the heartbreaking experience of orderly room duty and fatigue parties - a wasteful process and not conductive to making the best use of their talents. The E N S A view is that, whereas the total exemption of theatrical people of military age and fitness is open to grave question - apart from anything else it gives them the opportunity to make hay while the sun shines in the comparatively empty field of theatrical employment - the allocation of performers of military age but not necessarily of military fitness to entertainment work for the fighting services is a wise use of available talent. We show folk depend largely upon the good will of our fellow citizens. We hope sincerely that by the work we have done and are doing we shall erase the memory of those who prefer the spotlight of easy success to the difficult path of national duty.

E N S A has no sympathy with those actors of military age who have fled their country and are now earning large sums in America. The same remark applies to the dramatic authors and so-called British film producers. These people, nurtured and trained in the English theatre and cinema, and first encouraged by the plaudits of their countrymen, should return home, they should use their talents unsparingly to sustain the spirits of their troubled country and by so doing perhaps make easier the path of the British Theatre and the British film industry. In their spare time they could join the noble company of painstaking men and women who are labouring in France according to the light and teaching of Thespls. Whereas some of the artists may go overseas or may appear at special concerts at home out of a desire to obtain personal publicity, the majority are doing it as a matter of duty, quietly, uncomplainingly, with a cheerful courage. Of the joy and relief that their efforts have brought to the men of the British Expeditionary Force there can be no doubt whatever.

( Rights of reproduction as a whole or in part reserved)

DISCUSSION The Chairman : All of us must have been astonished by the magnitude of the

task that Mr. Basil Dean directs, by the success which it has already achieved and by the difficulties with which it must have met, of which he did not say very much, and also by the unfairness of the criticism by which it has been assailed.

The Chairman then invited questions. Question : Could Mr. Dean include in his report some mention of the work done

in the last war by the six hundred professional and very distinguished artists who




went to France in the years 1915 to 191 9, and of the fact that the money for their expenses was raised by people of the theatre ?

Mr. Basil Dean : The only reason why I have not referred to that is that in the last war this wonderful work was done under the leadership of Miss Lena Ashwell, and I had no contact with it and do not know the details, though I do know the effect of it on the army of that day and the general gratitude of the country for the work which Miss Ashwell and the Ashwell Players did.

Question : Is it possible to apply the regulations relating to indecent performances to the home front as well as overseas ? We are having some difficulty in London and the provinces in controlling this matter, except by the voluntary effort of licensees. 1

Mr. Basil Dean : The regulations apply equally to the Home Commands and overseas, and there have been cases where artists who are employed by E N S A and have disobeyed the regulations have had their contracts terminated.

Question : What straight plays have been presented, either at home or abroad ? Mr. Basil Dean : Speaking from memory, there have been " French Leave," " The Late Christopher Bean," " Almost a Honeymoon," 4 4 The Dominant Sex," " Pygmalion " and " Night Must Fall." The Colchester Repertory Company has

just been engaged, and the Welsh National Theatre Company (Lord Howard de Walden's scheme) have been employed for, I think, four months. Mr. Gielgud will shortly be going to France with a season of plays.

The Chairman : Perhaps Mr. Dean would extend what he said on one question which I have seen raised in the Press. It is the question of the difficulty of getting the men, especially abroad, to realise the need for payment and the reason for payment and where the payment goes to. It is desirable to do something to check the rather ignorant criticism that there has been on that point.

Mr. Basil Dean : The whole of the money which makes possible this work is provided by the N.A.A.F.I. Corporation, and they in their turn obtain that money from a central fund which arises in this way : the various units and formations of the Army and Royal Air Force which are supplied with canteens by the Corporation are entitled to varying percentages on the takings ; in other words, to a discount. These discounts are of various kinds and amounts, according to the amount of business done in the canteen. In war, instead of their rising to considerable figures, the rebate is standardised for all units, and the balance is paid into a central fund.

The central fund finances the entertainments ; but when the scheme was started in September last it was not thought by anyone that the war would take its present form, and consequently we did not realise that far from being merely an additional amenity provided by the Corporation we should become a national service of considerable dimensions.

The Corporation finally decided that if the entertainments were to continue on their present scàie, some alleviation of the overall cost would have to be obtained by way of payment. The War Office and the Air Ministry agreed, and so a scale of charges for admission to these entertainments was instituted, not with the idea of trying to make them a commercial proposition - which obviously they never could be, because we are expected to provide entertainments in very small places, where no professional entertainment could possibly pay - but by way of alleviation, so that the main amount of entertainment could be provided without further restriction.

There was at first a distinct drop in the attendances, due, I think, to the fact that for two and a half months we had been giving entertainments free ; but that drop lasted only a week or so, and now, according to the reports that we receive from the area entertainment officers, the attendances are in no way affected by the charges for admission.




To-dav there is no grumbling whatever about this ; the men thoroughly under- stand that they are paying no more and no less for their professional entertainment in the camps than their fathers paid before them ; in fact, the scale is identical. I am referring there to the charges for admission throughout the Home Commands, for which I was responsible in the last war. In fact the officers in those days paid 2 s. 6 d., whereas now they pay is. The men pay 30?., as in the last war. The Customs officials have granted exemption from tax.

The Chairman then, expressed to Mr. Dean the gratitude of the audience.

THE CLASSICS TO-DAY By E. A. S. Butterworth

1 he classics no longer hold the position they once held in English education. Though a large proportion of the English upper middle-class still receives a classical education, not only is the proportion a shrinking one, but that class is itself now but a part of the educated population of the country. The question is indeed commonly heard : What is the use of a classical education? The great humanistic movement of the sixteenth century, supplanting logic and formal studies with an intense interest in the nature and history of man and the beauty of human art, turned to the classics. Now men and women are turning away from those same classics with the implied criticism that they are no longer for this age what they were for the past.

It is generally true that a boy who leaves a classical sixth form in a public school is far better acquainted with Greek and Latin literature than with English literature. Similarly he is very ignorant of natural science, and, I believe, is often conscious of a certain ineffectualness because of this deficiency. There are other gaps in the intellectual part of his education, but the root of his dissatisfaction lies in a strong feeling that there is no connection between the classics and the modern world, and whereas his first concern is the world he lives in and his interest in other ages is rather as commentary upon it, his education has left him with some knowledge of a remote, somewhat idealised age and a vast ignorance of what is going on around him.

There is one argument used in defence of the classics which is not affected by this kind of criticism. It is that classical studies train the mind. The argument is perhaps not always sufficiently clearly understood, for it is sometimes supposed to mean that by classical study the mind acquires the ability to survey rapidly an unfamiliar situation, to acquire with peculiar ease any special knowledge that may be necessary, and so to distinguish with a rare clarity the significant features of that situation. That a classical education by itself confers any such gift, I do not believe. What it does do is to help the student to clear, articulate expression of his thoughts, as far as the form of words is concerned. It is often to be noticed how ambiguous or clumsy is the speech and writing of many scientists not undistinguished in their work. In part the imprecise or erroneous use of words is due to a lack of knowledge of the Latin or Greek originals, but it is also a matter of structural deficiency in the sentence. There is no substitute comparable with classical exercises and studies for teaching the proper construction of English and the simple and logical expression of meaning. This is no doubt due in part to the far clearer structure of the sentence in the classical languages, but it is also a result of the necessity of extracting the meaning from passages of English in order to render them in the different idiom of Greek or Latin, or conversely from practice in translating passages of Latin or Greek literature into an appropriate English. A classical education very considerably helps clear expression, and as clear expression is an essential of effective thinking, it may so far be said to train the mind.

But apart from this resultant benefit, what is the study of classical Greek



the theatre in emergency

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