Summer theaters, like Timethy-weed, will start blossoming across the countryside in June. Managers of stock companies, however, are already active, attending to the mass of details that goes before opening. Playhouses, whether they be barns, fully-equipped theaters, or something in between, are being rented and prepared. Schedules composed chiefly of standbys like "Private Lives" and "John Loves Mary," are being jotted down by apprehensive producers. Thousands of "young hopefuls," who like to think of themselves as "fresh new talent," are feverishly writing letters and making the rounds, seeking jobs in the largest theater training institution in America.

The summer theater began in 1898, at Elitch Gardens Theater, in Denver, Colorado. The playhouse there was originally an amusement park; when the experiment of presenting plays succeeded, the carousels were dismantled, and Elitch Gardens became the country's only summer theater. Its lead was followed two years later by the Lakewood Theater in Skowhegan, Maine. In the 50 years of its history, the Lakewood theater has become the center of a large colony, with a fleet of boats, golf courses, tennis courts, and the rest of the usual resort paraphernalia.

Since 1898, summer theaters has spread all over the nation, but the most important activity is in the East, where about 250 will open this year. Connecticut and Massachusetts are the most popular bases of operations for barn Belascos. The larger theaters in these states, and some in Maine, Pennsylvania, and New York, are testing grounds for plays slated for Broadway. The Theater Guild's new musical, "Arms and the Girl," was first tried out at the Guild's Westport Playhouse.

Since 1898, summer theaters have spread all over while others are downright chaotic. In non-Equity theaters, for instance, the actors and actresses often paint and build the scenery, cook for the company, and usher before performances. Somehow, out of the fantastically long working hours and shoestring budgets, many first-class shows emerge. Rural audiences are usually sympathetic toward the barnstormers, and often enjoy what Broadway audiences would consider unpolished.

Summer theater operations are all conducted with New York as a nerve center. There casting agents help the harried producers find a kinky-haired Basuto for "The Hasty Heart"; property and costume companies supply the bagpipes and Scottish regalia for the same show. Most theaters have a resident company of actors, who play supporting (and in some playhouses, principal) parts; these people are usually signed up in New York.

Some summer theaters make their greatest profits not from ticket sales, but from apprentice fees. Stage-struck youngsters with ingratiating smiles and a paucity of acting ability will do almost anything to appear on a stage even to the extent of paying cash to a slightly shadowy producer. The producer claims to teach the smiling youth to act; usually the aspiring actor or actress will end up sweeping the stage before performances.

Equity, the actors' union, has been controlling working conditions in summer theaters for more than ten years. Its stipulations about the length of rehearsal time, minimum pay, and working hours have all resulted in higher standards in stock productions. Year by year, this large but jumbled business is becoming more organized, but the day that summer theaters become efficiently-run, financially stable ventures, they will lose their haphazard charm. Fortunately, it does not appear likely--or even possible that this will ever happen.