There may be no theater in this country in another ten years. At present it is a very risky business gamble to produce any show, the cost of production demanding that successful plays possess either a well-known star or a script that doesn't deviate from one of the recognized "sure-fire" formulas. Theater art rarely can figure in the Broadway scheme. If production costs continue to mount, so will ticket prices, and there's no surer way to shut off the theater from the masses than through their pocketbooks.

Many of the people who concern themselves with such far-sighted matters feel that the only way out of this impending crisis is by decentralization of the theater on Broadway and de-emphasizing the "star system." This would probably require government subsidy of a revolving chain of professional repertory groups strung across the country. The United States is the only major country that does not today subsidize the arts, and there is currently a movement afoot to have President Truman create a new cabinet post--Secretary of Fine Arts. Surely a capitalistic democracy has a need for artists, too.

The first step, though only a half-step, was taken in 1935 when, with Roosevelt's support, several theater trade unions were able to get Congress to grant a charter to the American National Theater and Academy. This meant that ANTA had the same charter-status as the Red Cross and the Smithsonian, and like them, no federal funds. Once a year, ANTA has put on a benefit show in New York, the proceeds of which have gone to the New York Experimental Theater.

The further work of ANTA has been in extending its semi-official blessing to the struggling young repertory groups that have been attempting to divert some of the movie addicts from their well-worn rut which leads them almost unconsciously to weekly devotional service at the temples to their idols. ANTA's most successful god-child has been Miss Margo Jones' Dallas Theater. Currently its fond eyes are fixed on Boston where the Boston Repertory Association began operations three weeks ago at the Copley Theater.

The local group is the idea of Michael Linenthal '37, a Cantabrigian, and Gerald Savory, an English-born Playwright-actor. The two men met in 1947 when Mr. Linenthal's Woodstock Summer Theater was presenting Mr. Savory's play, "George and Margaret." Deciding that this was going to be one civic organization run on a real business-like basis, they innaugurated last year a series of gala cocktail parties where they managed to peddle $40,000 worth of shares to some 3,000 interested citizens. ANTA did its bit by sending celebrities up from New York to brighten the dark corners of the parties while preaching the Cause.

Things really began to look up for the 1948-9 season when the Shubert brothers (who own every legitimate theater in Boston but one) offered their seldom-used Copley to the new organization at a reasonable cost.

But BRA's first play, "The Road to Rome," was neither a commercial nor an artistic success because the proper ingredients for either were not there. It was a mildly amusing but banal play, containing a certain topical message which could not, however, justify its inclusion in any repertory. The Copley players' second play, which closes tonight, is Shaw's "Heartbreak House," a much wiser and likelier choice, which they do in fine style.

To keep its doors open, the repertory group must average 500 customers each performance which shouldn't be too difficult with a price range of 60 cents to $2.70--less than that asked for some first-run movies. But at the time of writing, the Copley will be dark after their third production (which is to be Mr. Savory's "George and Margaret") unless business picks up.

Both "The Road to Rome" and "Heartbreak House" were given excellent, professional productions and "George and Margaret" will doubtlessly get the same. But even though it was a success in London, "George and Margaret" failed when it was seen here in 1937, as often happens with imported hits. Mr. Linenthal describes it as a "pleasant and amusing" play. That much could also be said for "Claudia" and "I Remember Mama," two immense successes--but they do not belong in repertory. There is an uncomfortable suspicion that "George and Margaret" may not either.

Play-selection is the most difficult and decisive job before the Messrs. L. and S. They are inclined these days to speak of Margo Jones and of creating a "Boston's Old Vic." They would do well to look at the programs as well as the ideas of those two organizations. They do not, as a general rule, produce plays that merely strike the fancy of the directors unless they also have some recognized artistic value or promise.

Rather than looking to London or to Dallas, the Copley might just look across the square. There they would see the Tributary players, a group of awkward but earnest amateurs, offering Marlowe, O'Neill, Synge, Wilde, Moliere, and Shakespeare--all with a rich Boston accent. It will be a real pity if the Copley players don't get a chance to use their considerable talents in plays of that caliber.