The cover illustration is a detail from Jack Chalker's watercolor of the Chungkai Theatre in 1944. Courtesy of Jack Chalker.
Individual chapters of this book appear chronologically below. The book is also available to view as a single file. (PDF, 17.8 MB)
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Introduction
Sears Eldredge
Besides an overview of the contents of the book, the Introduction provides background information on the organization and content of military entertainment produced “for the troops, by the troops.” As an example of a military entertainment unit, readers are introduced to “The Optimists,” the British Territorial Army’s 18th Divisional concert party formed in England prior to deployment overseas. Some of its members will play an important role in the entertainment on the Thailand-Burma railway.
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Chapter 1. “In the Bag”: Changi POW Camp, Singapore
Sears Eldredge
Changi POW Camp, Singapore, was where many of the entertainers on the Thailand-Burma railway were first imprisoned as POWs. The challenges involved in organizing entertainment among the chaotic conditions in Changi with its thousands of defeated and demoralized troops, were multitudinous. But for those musicians and theatrical producers who were later sent to the Thailand-Burma railway, it was an excellent proving ground for the more difficult task they would face Up Country.
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The Thailand-Burma Railway: An Overview
Sears Eldredge
A map of the Thailand-Burma railway and the basic facts behind its logistics, workforce, and construction.
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Chapter 2. "Jungle Shows" Thailand
Sears Eldredge
The impromptu entertainment that took place during the early railway construction in Thailand soon developed into organized concert party troupes staging simple variety shows with rudimentary costumes and settings. But the widespread starvation, brutality, and death that occurred during “the Speedo Period” stymied any further activities.
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Chapter 3. “Jungle Shows" Burma
Sears Eldredge
In contrast to the Thailand side of the railway, POW workers on the Burma side had been sent to Burma from the Netherlands East Indies and Sumatra. Except for the Allied bombing raids, their construction experience was very similar to that on the Thailand side. But the “jungle shows” they produced to help them survive were unique. And the larrikin antics by the Australians to subvert the Japanese attempts to film a propaganda movie are unforgettable.
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Chapter 4. The Interval: Thailand and Burma
Sears Eldredge
Following the joining of the Burma and Thailand sides of the railway in October 1943, there was an interval of four months before the workers were redeployed elsewhere that allowed the sick and exhausted entertainers to regroup. Encouragement of musical and theatrical performances in field hospitals and relocation camps as part of rehabilitation schemes to stimulate the healing process resulted in a sudden growth in the number and quality of entertainment.
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Chapter 5. "The Tamarkan Players Present ": Tamarkan Convalescent Camp
Sears Eldredge
Tamarkan, Thailand, became a convalescent camp for the POWs who had worked on the Burma side of the railway. It was here that Aussie showman Norman Carter inspired a team of designers and stage technicians to mount a series of popular musical revues that were noteworthy for their elaborate sets, props, and costumes.
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Chapter 6a. "Chungkai Showcase": Chungkai Hospital Camp | Part One: Mid-October 1942 to Mid-May 1944 "
Sears Eldredge
By early 1944, the base/hospital camp at Chungkai had been transformed from a death camp into something resembling a holiday camp with the most impressive outdoor theatre on the railway. On its stage, four theatrical producers (led by Leo Britt and Joop Postma) vied with each other to be considered "the first and best" by audiences—sometimes employing devious means to win the contest. Meanwhile, musical conductors Norman Smith and Eric Cliffe led a camp orchestra in concerts which culminated in a full evening of classical music.
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Chapter 6b. "Chungkai Showcase": Chungkai Hospital Camp | Part Two: Mid-May 1944 to July 1945"
Sears Eldredge
During the latter half of 1944 and the early part of 1945, entertainment continued to flourish in Chungkai even though the theatre was flooded out by monsoon rains and the number of audience members was severely depleted by "away Parties." Challenging the thinking of what entertainment directed toward audiences recovering from trauma should contain, Leo Britt produced a series of straight plays that had them clamoring for more. But ever-tightening restrictions on what could be presented on stage, and a new policy assigning performers to maintenance parties, began to diminish what those who remained in camp could accomplish.
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Chapter 7. “The Show Must Go On”: Nong Pladuk Relocation Camp
Sears Eldredge
During 1944, the entertainers at Nong Pladuk under the inspired leadership of Lieutenant John D. V. Allum were faced with a series of challenges to their ability to make sure the shows went on. The most difficult of these challenges were the series of Allied bombing attacks that nearly put a stop to all entertainment. Against impossible odds, the stalwart entertainers soldiered on.
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Chapter 8. “Breakout”: Nakhon Pathom Hospital Camp
Sears Eldredge
Entertainment in the enormous hospital camp for chronic cases at Nakhon Pathom got off to a slow start, but once an infusion of "light sick" talent arrived from other camps in late 1944, orchestral concerts, revues, and straight plays became available on a weekly basis and quickly changed the atmosphere in the camp from one of despair to one of hope. Of particular note were the sparkling original comedies written and produced by the professional Dutch cabaret performer Wim Kan.
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Chapter 9. “The Battle for Concerts”: Kanburi Officers’ Camp
Sears Eldredge
The skirmishes in the "battle for concerts" that took place in Kanburi Officers Camp during 1945 pitted the Japanese authorities with their ever-tightening set of restrictions on the shows’ content against the POWs with their ever-increasing ingenuity in finding ways to keep entertainment going.
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Chapter 10. Strike a New Note!”: Kachu Mountain and Ubon
Sears Eldredge
During the final months of the war, the new airfield construction camps at Kachu Mountain and Ubon offer a study in contrasts in the POW entertainers’ ability to summon up their energy and creativity once again to form concert parties in two remote locations.
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Chapter 11. “Out of the Blue Came Freedom”: Victory Shows and Aftermath
Sears Eldredge
The POWs initial response to the news of the end of the war was not what they had expected. "Victory Shows" gave them a chance to release and channel their exuberance into collective celebrations. But keeping the ex-POWs in check during the long wait that followed until their liberation—and later still, until their repatriation—taxed the abilities of the entertainers to the utmost.
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Chapter 12a. “Jolly Good Show!”: The POW Theatre Production Handbook | Part One: Theatres, Scenery, Props, Staging
Sears Eldredge
A closer look at how the POWs constructed the theatres, sets, props, and evolved the staging methods for their shows.
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Chapter 12b. “Jolly Good Show!”: The POW Theatre Production Handbook | Part Two: Lighting, Costumes, Musical Instrument Construction
Sears Eldredge
An examination of the stage lighting, costumes, makeup, and musical instruments produced by the POWs out of scrounged materials.
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Chapter 13. “Precious Personalities”: The Entertainment Producers
Sears Eldredge
An inquiry into the orchestra conductors, choral conductors, and theatrical directors, who produced the entertainment in the Thailand hospital and relocation camps, culminates in an in-depth profile of the controversial “Maestro” Leo Britt that looks not only at his abilities as an acting coach, and his rehearsal techniques, but his crowning achievement: the formation of The Chungkai Repertory Company.
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Chapter 14. “Somebody Had to Put a Skirt On”: Female Impersonators
Sears Eldredge
This chapter investigates the men who became the female impersonators in camp entertainment on the Thailand-Burma railway. The ambiguities of gender inherent in their representations are examined, raising question about the impersonators’ sexual orientation. The corresponding complexity of the spectators’ “desiring and approving gaze” is also explored. The article concludes with an in-depth profile of Bobby Spong, the most famous and beloved impersonator on the railway.
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Chapter 15. “To Keep Going the Spirit”: What Music and Theatre Meant to the POWs
Sears Eldredge
This chapter looks back at the ways in which the POWs believed their entertainment helped them survive against "the enemy within" and "the enemy without." Their statements about the particular values of music, theatre, and dance –and of the performers themselves—are examined closely. A final section looks at what the POWs perceived about the intimate relationship between the performing arts and healing.
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“The FEPOW Songbook”
Sears Eldredge
Lyrics to the original songs and song-parodies written by FEPOWs on the Thailand-Burma railway.
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Captive Audiences / Captive Performers - Complete Text
Sears Eldredge
This document contains all chapters, additional text, acknowledgements and sources associated with Sears Eldredge's work titled Captive Audiences / Captive Performers. It does not contain the audio files and video files that are associated with Captive Audiences/Captive Performers.
