Chapter 5 looks at the detailed rules regarding the protection of the wounded, sick and shipwrecked members of the armed forces, and those who care for them – medical and religious personnel. It also looks at the law regarding what is perhaps the most recognisable emblem in the world – the Red Cross – and its affiliated emblems, the Red Crescent and Red Crystal.

The Introduction begins by examining the treatment of First World War theatre in academic scholarship over the last century, and identifies reasons for its neglect and the resurgence of interest in the topic over the last decade. It considers this resurgence in relation to work on popular theatre, the focus on cultural histories of the war, and the centrality of theatre and performance to centenary commemorations. In addressing how theatre contributed to the war effort it considers themes including: recruitment and enlistment, fundraising for war charities, and the value of theatre for servicemen and the wouded. It also considers challenges to theatre production created by the wartime conditions. Drawing on the work of the Great War Theatre project it highlights the large number of war-themed plays produced during the war, arguing that plays did not have to ignore the war to be entertaining or popular. The introduction emphasises the importance of looking at the diversity of theatrical production across the country and in both amateur and professional contexts. As such it provides the framework for the in-depth analyses of these and other topics examined across the volume.

This chapter considers the immediate post-war period and the ways in which representations of the war on stage shifted in relation to changing cultural attitudes in the 1920s and 1930s. It begins with the most well-known play of the period, Sheriff’s Journey’s End (1928) and shows how, rather than being unique, Journey’s End was part of a crescendo of works on the subject of war. The chapter argues that during the inter-war period playwrights made repeated attempts to find a stage language with which to speak of the shock of the battlefield, as well as the lasting imprint that it left upon every aspect of society. In examining this, the chapter considered better-known plays by authors including Noël Coward, Galsworthy, Priestly, O’Casey and Maugham alongside equally important works such as Corrie’s In Time o’ Strife: Atkinson’s The Chimney Corner, Smith’s Autumn Crocus, Dane’s A Bill of Divorcement, Box’s Angels at War, Pilcher’s The Searcher, Griffiths’ Tunnel Trench and Berkeley’s The White Chateau. As well as exploring the contribution of female playwrights, the chapter considers questions of class strife, the adaptation of veterans to post-war life, and changing sexual mores.