Anton Rippon and Nicola Rippon’s Wartime Entertainment: How Britain Kept Smiling Through the Second World War is an excellent example of how to write a popular history book. There are lots of short chapters, each focussing upon a different star or an aspect of entertainment, e.g. radio, cinema, etc. Each chapter offers some specific documentary evidence such as historical newspaper cuttings, oral history or quotes from interviews; followed by the authors’ analysis, expanding from the specific to the general. And, as well as this technical expertise, what the authors (father and daughter) write is highly interesting.

A few statistics are slipped in, such as mentioning that, in 1938, more people in the UK listened to the commercial station, Radio Luxembourg, on a Sunday than to the BBC, but a lot of the information has a human side: George Formby felt so strongly about salvaging paper, he made rounds in his own car to collect paper in Lancashire. Formby also upset a lot of fellow entertainers by claiming, while on an ENSA tour in North Africa, that “most of the stars are in the West End.” This is a tricky one and I’m not sure I agree with George. I think he exaggerated when he said “West End” but if we accept he meant “back in the UK” (or possibly even London), then he was probably right: there were more performers in London than on tour with ENSA. However, who would do more for morale: Tommy Trinder making millions of people laugh with his radio show, or George Formby appearing in front of a few thousand people, but in person? I don’t have an answer, but George’s remark was, at best, thoughtless and, at worst, seeking self-publicity at the expense of others.

This really good book has nineteen chapters, covering the BBC news, the Forces programme, ITMA, George Formby, Vera Lynn, communal singing, dancing, football and many other aspects. It does take a wide view of entertainment – if you’re interested in what people did outside work during WWII, I do recommend this book.

NetGalley, Colin Edwards

In *Wartime Entertainment*, the Rippons masterfully transport readers to a pivotal era in British history, offering an insightful exploration of how ordinary people found solace and joy amid the chaos of war. This meticulously researched book sheds light on the resilience and creativity of civilians, who transformed wartime Britain into a landscape of unexpected diversions—from cinemas and dance halls to concerts and theater. With vivid anecdotes and a keen understanding of the human spirit, this work reminds us that even in the darkest times, entertainment was not merely a distraction, but a vital lifeline to normalcy and hope. A must-read for history buffs and anyone interested in the power of culture to uplift a nation in crisis.

NetGalley, Bradley Harmer-Barnes

Rating: 5 out of 5 stars

War! Hah! What is it good for?
Actually, as this book reminds us, it can be pretty good for generating entertainment as in the Second World War, musicians, actors, comedians and broadcasters alike rallied in an effort to keep morale levels high.
Whether it was George Formby playing on his little ukulele, radio comedians delivering popular but now meaningless catchphrases or Vera Lynn belting out emotionally charged classics, this book serves as a useful reminder of the vital role entertainment played in defeating Hitler.

NetGalley, Chris Hallam

Rating: 5 out of 5 stars

Wartime Entertainment How Britain Kept Smiling Through the Second World War is so much more than a nostalgic trip amongst the entertainers of the time, the familiar films, and the impact of food rationing. All these topics are covered, and include material that is not well known, but where this book shines is in the information about less well-known aspects of Second World War entertainment. The material is enhanced with the occasional comment from the authors – tart, humorous or poignant and anecdotal evidence from conversations recorded at the time or recalled by those were war time adults and children. This, together with the immense amount of research that must have gone into Anton Rippon’s and Nicola Rippon’s book, makes it a tome of testimony to the range of entertainment, ideas, government responses and community acceptance, together with the thrill of finding f new aspects of entertainment on offer at the time. Written in the familiar Pen & Sword style of accessible and lively language, this work stands out as one to devour.

The debates in parliament, the media and amongst interest groups are a fascinating insight into the way in which concern for human life, concern for maintaining the human spirit, clinging to familiarity and the economics of reducing large scale entertainment battled to gain precedence. Sporting and cultural activities became sources of conflict off the field and stage because the large numbers in a confined space were seen as a likely focus for bombing. The arguments and solutions make interesting reading, reminiscent of those that have recently occurred around the Covid 19 pandemic – what are the relative merits of high-level risk to life when considered against the need for social activity? Other debates were more practical – should petrol and public transport be used when both were essential to the war effort? Debates around all the entertainment options are well articulated in this book and are valuable sources of the way in which the war was approached as well as providing information about entertainment.

Wartime Entertainment How Britain Kept Smiling Through the Second World War is a splendid source of information, with details of sources, an index, and photographs.

NetGalley, Robin Joyce