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Canadian Military Entertainers, 1939-1946

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Canadian Military Entertainers, 1939-1946 University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies Legacy Theses 2000 ' Ladies and gentlemen, soldiers and artists': Canadian military entertainers, 1939-1946 Halladay, Laurel Halladay, L. (2000). ' Ladies and gentlemen, soldiers and artists': Canadian military entertainers, 1939-1946 (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/17149 http://hdl.handle.net/1880/40464 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY 'Ladies and Gentlemen, Soldiers and Artists:' Canadian Military Entertainers, 1939-1946 Laurel Halladay, M.A. A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES M PARTIAL FULFLLLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF HISTORY CALGARY, ALBERTA AUGUST 2000 QLaurel Halladay 2000 National Library Bibliotheque nationale of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON KIA ON4 Ottawa ON K 1A ON4 Canada Canada Your ti& Votm rekrenco Our lrre Notre nUrence The author has granted a non- L'auteur a accorde we licence non exclusive licence allowing the exclusive pennettant a la National Library of Canada to Bibliotheque nationale du Canada de reproduce, loan, distribute or sell reproduire, prher, distribuer ou copies of ths thesis in microform, vendre des copies de cette these sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format electronique . The author retains ownership of the L7auteurconserve la propriete du copyright in this thesis. Neither the droit d'auteur qui protege cette these. thesis nor substantial extracts fiom it Ni la these ni des extraits substantiels may be printed or otherwise de celIe-ci ne doivent Ctre imprimes reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT This thesis examines the role of Canadian military entertainment units during World War 11, specifically those formed by the Navy, Air Force and Army from talent found amongst their own service personnel. These entertainment units, as pan of Canada's active forces. toured extensively in Canada, the United Kingdom, Italy and Northwest Europe with an overall goal of increasing the morale of training, defence and combat troops while encouraging the enlistment of Canada's domestic populations in the war effort generally and the armed forces specifically. The focus here is on the development and organization of the units and their necessary supporting infrastructure, the material employed on stage, the actual working life of the entertainers themselves and the challenges they faced in that work, and the reiationship performers had with both civilian and service personnel audiences. The formation of entertainment units boosted recruitment figures by glamorizing the forces through a satirization of military life, lowered. to an unmeasurable degree, battle exhaustion casualties, provided the performers with training in the arts and created audiences for live theater at home in Canada, thus encouraging the development of a distinctly Canadian culture. The primary research on which this thesis is based includes personal interviews, a selection of secondary historical literature and the archives of the Department of Defence, specifically the war diaries of the units in question. The thesis begins with a brief statement of the historiographical tact taken and concludes with an analysis of the process whereby Canadian military entertainment units were phased out in the months following the surrender of Germany and the completion of the repatriation process. ACKNOWLEDGMENTS I gratefilly acknowledge several contributions to this study. The National Archives in Ottawa was extremely helpll both in guiding me through the files of the Department of Defence and in locating non-print material relevant to this topic. I would also like to thank the people I was able to interview regarding their memories of this period who, at rather short notice, were open to revealing the personal side of this story. Will Chabun at the Regina Lea&-Post, Lori Kuffher of Cooper Rock Pictures in Regina and Dr. Dean Oliver and Leslie Redman at the Canadian War Museum (Vimy House) were all very accommodating in exchanging ideas on the subject matter and putting me in contact with other imponant people and resources. I thank the Faculty of Graduate Studies for providing much needed research hnds, my supervisor Dr. David Bercuson and the support staff and faculty of the University of Calgary Department of History for their encouragement and instruction. Lastly, I would like to express appreciation for the mental, phys~caland financial sustenance I received from Don and Randee Halladay, Jayson Halladay and Leah Solomon. Their unhesitating support allowed me to write this thesis and for that I am truly grate&]. TABLE OF CONTENTS Approval Page Abstract Acknowledgments Table of Contents List of Tables and List of Abbreviations Used vl List of Illustrations vii Preface: Introducing.. Chapter One: Production Number Chapter Two: Featuring.. Chapter Three: The Show Goes On Chapter Four: The Audience Chapter Five: Soldiers and Artists Chapter Six: The Closing Act Endnotes References Appendix A: Unit Names LIST OF TABLES Table 1 Country or Province of Last Address of the Cast of "Meet the Navy" LIST OF ABBREVIATIONS USED AC I Aircraftman First Class AFHQ Air Force Headquarters (Ottawa) AS0 Auxiliary Services Officer AVM Air Vice-Marshall CAS(0) Canadian Army Show (Overseas) CCS Casualty Clearing Station CSM Company Sergeant Major (Army) CRU Canadis7 Reinforcement Unit CWAC Canadian Women's Army Corps D.of P. Department of Publicity (Air Force) D.of P.R. Department of Public Relations (Navy) ENSA Entertainments National Service Association (United Kingdom) F/O Flight Officer FTS Flight Training School i/c in charge LAC Leading Aircraftman LAW Leading Airwornan L/Sea Leading Seaman NAAFl Navy, Army and Air Force Institutes (United Kingdom) NCO Non-Commissioned Officer NWAC North West Air Command NWET Northwest European Theater OK-C/O Officer Commanding-commanding Officer us0 United Services Organization (United States) PA Public Archives of Canada Pte. Private (Army) RC~~OKD)Royal Canadian Air Force (Women's Division) RCNVR Royal Canadian Naval Volunteer Reserve RG Record Group S/L Squadron Leader (Air Force) TC Training Command (Air Force) WRCNS Women' s Royal Canadian Naval Service (Wrens) W/O W mant Officer LIST OF ILLUSTRATIONS Figure 1 Two members of the original Canadian Army Show at the Victory Theater in Toronto. December 14, 1943. (PA-1 3 78 1 8) Figure 2 The chorus line of the "Meet the Navy" show in Ottawa. November 1943. (PA- 128 197) Figure 3 49 Private Johnny Heawood in costume as "Trilby" of the Canadian Army Show "The Tin Hats," photographed while on tour in Italy. April 12, 1944. (PA-152147) Figure 4 5 1 A member of the Canadian Army Show "The Kit Bags" assisting the unit's female impersonator with make-up in London, England. March 30. 1942. (PA-15 1 171) Figure 5 53 At the Canadian Army Shows7base in Guildford, England, Lt. Verity Sweeny (CWAC) puts finishing touches on the gown of singer Private Mary Leonard. June 2 1, 1945. (PA- 150924) Figure 6 79 Part of the cast of the RCAF show "The Blackouts" pose for a publicity shot at Cdinburgh Castle during their tour of Scotland. Spring 1 944 (RCAF PL 3 1 865) Figure 7 83 Three CWACs of No.3 CAS applying stage make-up prior to the commencement of a show in France. They are Pte. Cartwright of Toronto (lefl), Pte. Stuart of Toronto (middle) and Re. Powell of Toronto (right). Summer 1944. (C 147408) Figure 8 85 At CBC Radio Headquarters in Ottawa, three members of the "The Army Show" broadcast team ham it up for a publicity shot. January 21, 1944. (PA-L52120) Figure 9 92 A unit of the Canadian Army Show doing an evening performance for an audience of Second Division servicemen near Esquelbecq, France. September 17, 1944. (PA- 152 141) Figure 10 93 French civilians attending a presentation of the Canadian Army Show "Invasion Revue" near Banville, France. July 30, 1944. (PA- 14 1068) Figure 1 1 104 Members of the Canadian Amy Show "The Bandoliers" posing in a barn near Udem, Germany amongst dry straw and gas cans. March 8, 1945. (PA- 1426 16) PREFACE Introducing.. If there is one predominant theme in Canadian military historiography, it is one of Canadians being an "unmilitary people." Widely adopted as a perspective fiom which to analyze Canada's preparation for and its political development and performance in international conflicts after the publication of George Stanley's book Canada's Soldiers in 1954,l it has become the most popular assumption and jumping off point from which to study all issues arising tiom the Second World War. Stanley argued that, largely due to their relatively secure geographical location, Canadians "have displayed small interest in the problems of defense" and are basically a civilian population,' this despite having "borne arms" for three and a half centuries and being involved in several armed exploits that have both encouraged and then solidified Canada's status as a middle power on the international scene. Significantly, Stanley also details the important strides in skill Canadians took in waging war and points to a respectably steep learning curve in the practice of watfare. This theme makes the assumption that when called upon, via tenuous colonial ties, Canada will respond in force, ready or not. With a bit of experience, Canadians prove themselves to other more military nations out of necessity and then push issues of conflict from their minds as soon as possible.
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