Our approach has been realistic. We have dealt, first, with the theatre's bread and butter problems, and, secondly, with such innovations as would appear to be practical. A primary intention has been to suggest measures which will increase the quantity of presentations, in the belief that this is the best means of evoking more quality throughout the theatre - realizing there are many pitfalls in this approach.

We have attempted to investigate every major type of activity relating to the drama in the metropolitan area: Broadway, Off-Broadway, Off-Off Broadway, and classical or repertory groups. To a lesser extent, we have concerned ourselves with theatres in the streets and in the boroughs outside Manhattan, with school programs, the role of government agencies, etc.

We have sought to examine the primary economics of the theatre: level and trends in activity and audience size, availability of tickets, ticket prices, costs, promotional and educational activities, the effect of legislative restraints and so forth. In so broad a survey, much of the reporting is descriptive of necessity, assembling and reporting facts which, while previously known, were not readily accessible or generally recognized. However, many of our most important findings are quite new and often sharply at variance with widely accepted notions, as indicated in the summary which follows.

The report also surveys the funding of theatrical activities in the City by the foundations and city, state and federal agencies. It examines the efforts of the City to encourage theatrical activity. It takes in the wide variety of audience development programs, particularly those designed to make theatre available to students and the schools. It examines the program to stimulate the construction of theatres and other significant issues which must be omitted from a summary such as this.

It should be stressed that the primary purpose of this study has been to present specific recommendations and to suggest practical ways for their implementation. We have also made recommendations for the City and State of New York, the Government and others to adopt in respect to their relationship with, and assistance to, the theatre.

Some of the current problems are simply an unnecessary product of institutional arrangements. Several fairly straightforward modifications in current practices can substantially improve this state of affairs. Other problems go deeper. To deal with these it will be necessary to undertake more fundamental measures.

In making our recommendations we are under no illusions that a favorable economic climate alone can guarantee an exciting theatre. However, a professional theatre cannot function without adequate economic support, no matter how great the talents of those who participate in its activities. We believe the inherent vitality of the drama in this City is easily demonstrated. If it is possible to eliminate unnecessary economic and legal inhibitions, the theatre is capable of providing a degree of excitement which would fully justify the requisite effort.

Following are recommendations prepared by a citizens committee under the auspices of the New York State Council on the Arts and the New York City Cultural Council:

1. Repeal of regulations inhibiting the sale of theatre tickets.
2. Establishment of a program of last-minute distribution of tickets that might otherwise go unsold.
3. City financial support to selected theatrical companies.
4. Setting up a program under which a portion of taxes be applied to theatrical activity devoted to betterment of theatre.
5. Continued support of selected theatre groups by the State Council on the Arts, the National Endowment for the Arts and private foundations.
6. Establishment of a national playwriting contest.
7. Publication of a weekly theatrical newsletter.
8. Setting up experiments in pricing and time performance related to the fluctuations of current demand.
9. Supplementing of private funds to the Theatre Development Fund by the arts council and foundations.
10. Formation of a Youth Incentive Program underwriting the distribution of tickets to students.
11. Expansion of the League of New York Theatres' current program of providing tickets to students.
12. Pooling of resources by the League of New York Theatres, the Off Broadway Association, and Actors Equity Association for over-all helpful theatre programs.
13. Combining of the Tony and the Obie award groups.
14. Cooperation by the Police Department and the Office of Midtown Planning and Development in the curtailment of crime in the theatre district.
15. Organization of a program of data under the auspices of the American National Theatre and Academy.
16. Appointment by Mayor Lindsay of an individual on his staff to serve as the liaison to the theatre.
17. Encouragement by city departments and agencies as well as Actors Equity of the production of plays in New York City.
18. Consideration by the Office of Midtown Planning, the City Planning Commission and other appropriate city agencies to new incentives to encourage builders to include legitimate theatres in their prospective buildings.
19. Transportation of theatregoers and tourists to the Times Square area at city expense from East Side locations.

CONTENTS
Introduction.
Scope of study.
The theatre today - summary.
Recommendations.

Appendix 1. Committee members.
Appendix 2. Proposed revision of State statutes and City codes relating to ticket sales
                  and distribution.
Appendix 3. Description of Ticketron, the computerized box offices.
Appendix 4. Description of Theatre Development Fund, Inc.
Appendix 5. League of New York Theatres' Student program.
Appendix 6. List of theatre grants, 1971-1972, New York State Council on the Arts.
Appendix 7. Proposal for liberalizing Equity requirements for Off-Off-Broadway 
                  showcase productions.
Appendix 8. Proposal to encourage the writing of new plays for the theatre.
Appendix 9. Proposal for a National playwriting contest under the auspices of the
                  Repertory Theater of Lincoln Center (budget attached).

Our approach has been realistic. We have dealt, first, with the theatre's bread and butter problems, and, secondly, with such innovations as would appear to be practical. A primary intention has been to suggest measures which will increase the quantity of presentations, in the belief that this is the best means of evoking more quality throughout the theatre - realizing there are many pitfalls in this approach.