ABSTRACT
Over those experimental months forty-seven productions were the subject of questionnaires. The plays ranged from Anthony and Cleopatra, All for Love and The Cherry Orchard, to Dear Brutus and East Lynne. The features have titles now long forgotten, but they had such titles as The Battle of Lepanto, The Blue Danube, King Arthur and The First Days of Steam. In the questionnaires we tried to distinguish between the theme, the production and the performance. The results showed, incidentally, that the standard of both production and performance was either invariably very high or else that panel members were very uncritical of them, for in these respects few differences between the broadcasts emerged. In fact such differences as there were showed a suspiciously close correlation with the differences in the way the themes were regarded - the more a play's theme was liked, the more highly was its production and performance regarded - an example, no doubt, of the 'halo effect'.
