In an article for the National WWII Museum Aaron Jura writes in “GIs as Dolls: Uncovering the Hidden Histories of Drag Entertainment During Wartime,” that drag performances in war zones have been part of American culture since the late 19th century and were utilised in World Wars I and II, but it was during WWII that these performances were recognised by the government as important for keeping up troop morale.
According to Jura
The Army Special Services produced, published, and distributed handbooks for soldier shows. These publications, known as Blueprint Specials, contained everything you would need to put on an approved and pre-scripted soldier show. Blueprint Specials for soldier shows even included dress making patterns and suggestions for material procurement.
Due to the fact that the military was not sexually integrated, male soldiers played both male and female parts in the show. In fact, according to Jura, females were prohibited from performing due to the sexist ideas of supposed impropriety, however they were allowed to help with makeup, feminisation coaching and costuming.
Costuming could be difficult, especially in remote overseas outposts. The USO, in conjunction with the Red Cross, would ship costuming materials all around the world to ensure that soldier shows could go on no matter where they might be. In some areas, soldiers had to improvise with materials they could get a hold of in the local area. The Blueprint Special handbooks provided the patterns, so all a soldier needed was some material. Alan Bérubé’s book, Coming Out Under Fire, highlights the favorite materials of those stationed in the South Pacific, including semaphore flags, mop heads, coconut shells, and various tropical fruits.
Below is the costuming chapter from The Blueprint Special handbook #2 “Hi, Yank!” courtesy University of Maryland libraries and the Internet Archive, including a beautiful showgirl dress to be made from a salvaged G.I. blanket. Costume designs by Lt. Robert T. Stevenson and Sgt . Al Hamilton, drawn by Technician Fourth Grade Edward E. Wolf.
According to historian George Chauncey, director of the Columbia Research Initiative on the Global History of Sexualities, as quoted in the New-York Historical Society’s WWII & NYC: Staging Soldier Shows from Burma to Broadway, it was the military who was responsible for bringing female impersonation back to the theatrical stages.
Some photos from This Is The Army Collection, WWII 121, WWII Papers, Military Collection, State Archives of North Carolina, Raleigh, N.C.
WWII 121.B2.F4.15: View of the cast members of Irving Berlin’s traveling U.S. military play This Is The Army getting their makeup and wigs on in the dressing room before a performance of the skit “Ladies of the Chorus,” which was the play’s comedy number in Act One, during World War II at an unidentified location. Photograph taken while the play was in the Pacific Theater to perform for U.S. military personnel during their international tour. This photograph was owned by singer Robert Summerlin of Tarboro, NC, who was a part of the touring play [Photograph by: Zinn Arthur]. 
WWII 121.B2.F8.1: Photograph of the cast members of Irving Berlin’s traveling U.S. military play This Is The Army performing the sketch “Ladies of the Chorus, which was the play’s comedy number in Act One, in the Jungle Bowl theater in Papua New Guinea in 1945 during World War II. This photograph was owned by singer Robert Summerlin of Tarboro, NC, who was a part of the touring play. 
WWII 121.B2.F7.11: Photograph of a cast member of Berlin’s traveling U.S. military play This Is The Army, dressed in drag as starlet and Hollywood actress Carmen Miranda during what is believed to be the play skit “A Soldier’s Dream,” during World War II. This photograph was owned by singer Robert Summerlin of Tarboro, NC, who was a part of the touring play. 
WWII 121.B1.F19.8: View of male performers from the cast of Irving Berlin’s traveling U.S. military play This Is The Army on stage performing the skit “A Soldier’s Dream,” dressed as famous Hollywood actresses Carmen Miranda, Betty Grable, and Hedy Lamarr, during World War II. Photograph taken while the play was traveling in the South Pacific to perform for U.S. military personnel during their international tour. This photograph was owned by singer Robert Summerlin of Tarboro, NC, who was a part of the touring play [circa July-August 1945].
