Repertory theatre

The acting company would usually consist of a leading lady, a leading man, a set of juveniles (one male and one female ingenue for the young, often romantic role(s)), a character actor and actress (for the older or eccentric parts) and perhaps a vain and girlish soubrette. The company might occasionally bring in a guest star to increase interest, albeit in exchange for a cost increase often large enough to offset the rise in revenues brought by any increase in attendance. The resident cast would number seven, plus the resident director, usually serving as the artistic director in charge of the whole enterprise. Additionally there would be the stage director, the assistant stage manager (ASM), some unpaid apprentices, and light and sound technicians. Newcomers to the profession would often start their careers in this fashion, and members would gain a foundation upon which to base their future careers. Paid members could also be sure of a steady income for one or more seasons, which might last for six months. Examples of performers who went on to universal recognition are Errol Flynn, John Gielgud, Ralph Richardson, Laurence Olivier, Jeremy Brett, Judi Dench, Rosemary Harris, Ian McKellen, Peter O'Toole, Christopher Plummer, Harold Pinter, Imelda Staunton, Lynn Redgrave, Arthur Lowe, Vanessa Redgrave, Patrick Stewart, Geraldine McEwan and Ronnie Barker. Dirk Bogarde wrote about his start at tiny Amersham rep in 1939, and Michael Caine has recounted his time spent at Horsham rep in the early fifties.

For weekly rep and for a typical three-act play, the actors' week would start on Tuesday, and go as follows:

Tuesday: notes on last night's opening of the current play from the director, then a sit-down read-through of the next week's play with some discussion by the director, on-the-feet blocking of the moves for Act I, with a few questions from the actors, followed by the second performance of the current play (which would also occupy every evening up to and including Saturday).

Wednesday: run Act I of next week's play and start to block Act II, but break early because there would be a matinée of the current play.

Thursday: finish blocking Act II of next week's play, run Act II and block Act III.

Friday: run Act III, run through the entire play with no scripts in hand, and technicals – meaning lights and sound – to watch, and write down cues.

Saturday: run through again, stop and go to test lighting and sound cues; costumes may be used if ready. Two shows today, including a matinée; the evening show closes the current play. After the last show, the set would be struck (taken down) by the crew - usually apprentices – and the stage manager.

Sunday: for actors, an opportunity to brush up on lines and moves, and for private rehearsals. However, for the crew it would mean putting up the new sets, hanging and focusing lights, and setting sound equipment.

Monday: in the morning, a run-through, usually without costumes (to save wear and tear), mainly for the technicals. In the afternoon: a "Full Perfect" dress rehearsal, maybe with a few friends seated in front to gauge reaction, then copious notes. In the evening, 8 o'clock opening night, followed by notes from the director, visits with friends from the audience and maybe a party nearby. The process would start all over again on Tuesday.

From the audience's point of view, local communities would become fans, and champion their favourite performers, who are treated as celebrities. Sometimes entire families would make a visit to their local rep part of the weekly routine, like going to church. As a result, the younger generations begin to develop a natural appreciation for the live arts, otherwise known as "legitimate" theatre."

During the forties, fifties, and sixties, two impresarios dominated the field of British rep, mostly in the North. They were Harry Hanson and his Court players, and Frank H. Fortescue's Famous Players, with Arthur Brough in Folkestone for the South. Their system was the toughest of all, for if you joined one of their companies, it could mean "twice-nightly" shows, and a new play to learn every week. Rosemary Harris has told of her 50 consecutive weeks of doing just that at Bedford rep. That cannot happen anymore, owing to the restrictions of British Equity, which came to mandate just eight shows a week, including perhaps two matinées. Fortescue, who died in 1957, was known to be a strict and upright man. When Pygmalion was playing at one of his theatres, the sign "FOR ADULTS ONLY!" would be posted in the front of house, because of Eliza Doolittle's line "Not bloody likely!".

Not to be overlooked is a form of touring rep known as "bus and truck", which involves transporting the actors and sets for about five different plays which can be performed in smaller communities on consecutive nights.

In Russia and much of Eastern Europe, repertory theatre is based on the idea that each company maintains a number of productions that are performed on a rotating basis. Each production's life span is determined by its success with the audience. However, many productions remain in repertory for years as this approach presents each piece a few times in a given season, not enough to exhaust the potential audience pool. After the fall of the Soviet regime and the substantial diminution of government subsidy, the repertory practice has required re-examination. Moscow Art Theatre and Lev Dodin's Maly Drama Theatre of St. Petersburg are the world’s most notable practitioners of this approach.

Rotation Repertory system is still the most commonly used business model of live theatre in Eastern and Central Europe, specifically in countries such as Austria, Serbia, Croatia, Slovenia, Slovakia and Czech Republic.

In German-speaking countries, most opera companies function in a similar way, too. In Germany, Schaubuhne and some other theatres run on a repertory system.

Among the benefits of such a system are increased variety and better quality, due to fresh actors and shopped-in directors. The theatre can afford to take risks, and a show that is likely to attract a large audience will effectively subsidize a show that is less likely, especially if season tickets are sold. Another benefit is a significantly better social security for the artists employed. In countries with long term or so called true rep system artists earn higher incomes and enjoy more social security such as pensions, health benefits and long term work security.

The production costs of these companies are actually lower because the productions stay on the repertory longer and some set and costume elements can be recycled in other productions.

Many such companies are large and are able to have a smaller space available to workshop an experimental production or present play readings; but the standard should be higher than under the old-time repertory system because of more time for rehearsal. Also, many repertoire companies today have non-profit status, so that budgets and income should be higher because they will not just depend upon ticket sales. However, the downside is that promotional costs will also be much higher, due to having to employ a separate staff.

In April 2017, Glenda Jackson blamed the increase in TV viewers being unable to understand what actors are saying on the decline of the repertory system.[7]

• Combination company
• Community theatre
• Fringe theatre
• Mercury Theatre
• Summer stock theatre
• Stagione
• Theatre festival
• Theatre (structure) (i.e. building)

Murray, Stephen. Taking Our Amusements Seriously. LAP, 2010. ISBN 978-3-8383-7608-0.

• British Library Theatre Archive Project - actors tell their stories
• A bibliography of British repertory theatre with images, by Paul Iles and The Laughing Audience