Theatrical productions will be run on a sort of improvement upon contemporary methods, but there will be no cornering of talent possible, no wild advertisement of favoured stars upon strictly commercial lines, no Theatrical Trust. The theatres will be municipal buildings, every theatre-going voter will be keen to see them comfortable and fine; they will, perhaps, be run in some cases by a public repertoire company and in another by a lessee, and this latter may be financed by his own private savings or by subscribers or partners, or by a loan from the public bank as the case may be. This latter method of exploitation by a lessee will probably also work best in the public Music Halls, but it is quite equally possible that these may be controlled by managers under partly elected and partly appointed public committees. In some cases the theatrical lessee might be a kind of stage society organized for the production of particular types of play. The spectators will pay for admission, of course, as they do now, but to the municipal box offices; and I suppose the lessee or the author and artists will divide up the surplus after the rent of the theatre has been deducted for the municipal treasury. In every town of any importance there will be many theatres, music halls and the like, perhaps under competing committees. In all these matters, as every intelligent person understands, one has to maintain variety of method, a choice of avenues, freedom from autocracies; and since the Socialist community will contain a great number of intelligent persons with leisure and opportunity for artistic appreciation, there is little chance of this important principle being forgotten, much less than there is in this world where a group of dealers can often make an absolute corner in this artistic market or that. You will not, under Socialism, see Sarah Bernhardt playing in a tent as she had to do in America, because all the theatres have been closed against her through some mean dispute with a Trust about the sharing of profits....