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.https://digitalcommons.macalester.edu/thdabooks/1009/thumbnail.jp
