Staging the productions in Sanders Thetre, with its capacity of 1,100, rather than in the Brattle (capacity: 350).

The very favorable community reaction to last summer's Brattle productions of Othello, Henry IV, Part 1, and Much Ado About Nothing.

The attitude of the Festival's directors, who realize their situation and are planning this summer's productions so they will be--at least could be--both artistic and commercial successes.

The intellectual and dramatic prestige of Harvard, which makes many actors and actresses want to come to Cambridge, even if they will not be making as much money as they would elsewhere.

All of these factors are important, and they all underscore the basic point that Cambridge professional drama has under-gone a fundamental reorientation from previous years. In 1951, at the peak of the Brattle's success, one New York producer said, "There are two kinds of people in the theater today: those who like Mike Todd and those who like the Brattle." At long last, however, the plans for the Festival seem to indicate that the men formerly associated with the Brattle have discovered that maybe they can at least learn something from such men as Todd.

Community Response

There was one big difference between the Shakespeare Festival last summer and the previous regular, year-round production. This was the community response. Whereas the regular Theater group had depended largely on the Harvard community for its audience, the Festival depended on the entire Boston area. The producers even placed one ad in the New York Times because, as they explained, "Many people around here don't read the Boston papers." The response was overwhelming, proving decisively that "people don't necessarily want to see Desert Song in the summer."

And it was this realization which led to the fundamental change in Cambridge professional drama over the past year. Largely through the efforts of William Morris Hunt '36, a Boston architect, the group reorganized on the principle of community responsibility. It decided that many people did in fact want to see classical plays. Moreover, it decided that people wanted to see these productions not just for one summer, but every summer.

The Facts of Life

For the first time, organizers of the group--the same ones who have organized the Festival--have had to face the facts of life. It appears they have done this with a vengenance. First of all, they took a new name, one which was not synonymous with artistic integrity and financial incompetence, as was "Brattle." They also incorporated on a non-profit portantly, they affiliated with Harvard's Summer School, obtaining the use of basis so that contributions to the group would be tax-deductible. And, most im-have to develop over a number of years, depending on the initial success of this Sanders Theatre in return for paying maintenance expenses and obeying the fire regulations. It represents the first time a big eastern university has lent its name and cooperation for a venture of this sort. The prestige value is, of course, great. And the capacity of Sanders will make it possible for the Festival to be financially successful.

Popularity vs. Art

This re-orientation has, of course, brought problems with it. Foremost among these is the type of play which the Festival should produce. How far should the group--or how far will it have to--please popular taste? In other words, will the admirable intent of the Festival be undermined by its sudden new desire for a permanent, sound financial basis? Another closely connected problem concerns casting. Should the Festival seek big-name stars, regardless of their classical acting ability, or should it seek to form a permanent repertory group, which might not have as much popular appeal, albeit considerably more artistic integrity and ability?

Hunt and the other directors of the Festival believe they can both please popular taste and maintain artistic standards which, after all, is the raison d'etre of the group.

They have high hopes for the coming season. They also have high ideals. It remains to be seen whether in the long run the Festival will be able to live up to these ideals and still be financially successful, which it will have to be to survive